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CORRELATED LESSONS 

IN 

LANGUAGE 

AND 

OCCUPATION WORK 



BY 

RUTH O. DYER 

Primary Critic Teacher, Georgia Normal and Industrial College 



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EDUCATIONAL PUBLISHING COMPANY 

BOSTON NEW YORK CHICAGO 






Copyright, 1914 

BY 

EDUCATIONAL PUBLISHING COMPANT 



APR 23 1914 



0'CI.A36 97 9ti 



TO 
ROBERT JUUUS SCHNEIDER 

WHO ALWAYS PROVED A HELPFUL LISTENER 

TO THESE STORIES 

THIS BOOK 

IS LOVINGLY DEDICATED 



INTRODUCTION 

This little book is a product of the school-room. The stories selected are the ones 
children love. They are the ones that have been told for years and years, but they have been 
changed and adapted to the child's needs, so the further work of reproduction, dramatization 
and demonstration on the sand-table can be carried out with much more ease. 

A great deal of conversation is put into the stories so as to render them better suited to 
the child's needs. 

When the children in the school-room have listened intently to a story in which the 
conversation is well suited to dramatization, reproduction and dramatization are easy matters. 
In playing a story, children should be encouraged to be as natural as possible. If small 
mistakes are made, they should be overlooked until they can be corrected with tact, for quite 
frequently a child's face expression is ruined by untactful correction in the midst of the 
dramatization. 

Sand-table demonstration is given for the purpose of training in industrial work. The 
child becomes interested in the story and is more than glad to work out with his hands the 
sand-table picture of the story. 

The paper cuttings are simple and can easily be used as models for the children's cut- 
tings, or they may serve merely as suggestions. 

It is with the hope that some teacher may be helped to solve the problem of the corre- 
lation of language with handwork that this little book is brought out. 

RUTH O. DYER 



CONTENTS 

The Gingerbread Man 9 

Little Half Chick 27 

Little Footsteps-Upon-the- Water 39 

The Goats in the Turnip Field 57 

The Little Red Hen 67 

Sweet Rice Porridge 79 

Billy Bob-Tail 93 

The Pied Piper of Hamelin 109 

The Ugly Duckling 123 

The Cat and the Parrot 145 

Appendix — Sand-Table Illustrations 161 

7 



PAPER CUTTING 





THK LmXE OLD WOMAN AND THE LITTLE OLD MAN WERE SITTLNOJ ALL ALONE 




THF. LITTLK OLD WOMAN AND THE LITTLE OLD MAN RAN AFTER HIM 



COEEELATED LANGUAGE AND 
OCCUPATION WOEK 



THE GINGERBREAD MAN 



THE STORY 

Once upon a time there was a little 
old woman and a little old man and they 
lived all alone in a little old house. Now 
it was very lonely in the little old house, 
for the little old woman and the little 
old man were all alone. So one day, as 
the little old man was busy with his 
paper and the little old woman was 
sitting near by knitting, she sighed a 
great big sigh. 

It was such a big sigh that the little 
old man laid aside his paper, and said: 
"Why, what's the matter, little old 
woman?" and she answered: "Oh, I 
do wish we had a little boy here in the 
house! It is so lonesome!" Then the 
little old man said: "Well, why don't 
you make one out of gingerbread dough? 
No one can make better gingerbread 
than you." 

"Just the thing," said the little old 
woman rising and bringing out her 



dough board. "Now listen anid I will 
tell you how I will make it. I will mix 
my dough and mold it into a well- 
shaped boy. Then I will give him a 
chocolate jacket with cinnamon seeds 
down each side of the front for buttons. 
I will use two fine fat currants for his 
eyes and some red peppermint candy for 
his lips, while on his head I will put a 
gay cap of bright red candy, and on 
his feet these little shoes made of 
licorice. Now, little old man, did you 
ever see a finer looking boy?" 

"No indeed, said the little old man, 
"and we will keep him forever." 

Then they put him in the oven and the 
little old woman and the little old man 
talked as he baked, and this is what 
they said: 

"Do you think," said the little old 
woman, "he will like living with us 
here?" 

"Why not?" said the little old man. 

9 



PAPER CUTTING 




THK COW RAX AITKR THK OlNGEKlSREAD BOY 



LANGUAGE AND OCCUPATION WORK 



11 



"He can go with me to feed the cows 
and he will like to run on errands for 
you, but I think he must be brown by 
this time. You had better look and 
see," 

Then the little old woman pulled the 
pan from the oven and took the little 
Gingerbread Boy by the hand and helped 
him out, exclaiming, "What a fine 
boy!" 

But before they could believe their 
eyes, away he ran, out the door and 
down the street. 

The little old woman and the little 
old man ran after him, but the Ginger- 
bread Boy just tossed his head and 
shouted as he ran: 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

When they found they couldn't catch 
him they turned back towards the little 
old house and the little old woman wept 
bitterly, but the little old man took her 
hand, and said: "Don't cry! He is 
still our little Gingerbread Boy if he 
is out in the world." Then the little 
old woman wiped her eyes and said: 
"I hadn't thought of that. I shall go 
home and try and be happy, for no 
doubt we shall hear of him again some 
day." 

The little Gingerbread Boy ran on 



and on, and at last he passed a field 
where a red and white cow was eating 
clover. The cow looked up and, stretch- 
ing her long neck, said to herself: "Who 
is that coming down the road? I do 
believe it is a little Gingerbread Boy." 
Then she called: "Stop, little Ginger- 
bread Boy. I want to eat you." But 
the little Gingerbread Boy halted only a 
second to hear what the cow said, and 
then laughed and ran on, calling back 
loudly: 

"I have run away from a little old 
woman and a little old man, and I can 
run away from you — I can." 

Then the cow began to run and the 
little Gingerbread Boy ran faster than 
ever, calling out over his shoulder: 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

And when the cow found she could 
not catch him she turned and walked 
back to her clover field, and began 
eating clover as if nothing had hap-- 
pened. 

The little Gingerbread Boy ran on and 
on and on, till he came to a large pasture 
in which a beautiful bay horse was 
feeding. The horse looked up just as 
the Gingerbread Boy came near and 
said: "Why, if there isn't a little 
Gingerbread Boy! I haven't tasted one 



12 



LANGUAGE AND OCCUPATION WORK 



for a long, long time." Then he called 
to him: "Please stop, little Ginger- 
bread Boy, you look very good to eat." 
But the Gingerbread Boy laughed until 
he had to hold his sides. 

"Oho! Oho!" he said. "I have run 
away from a little old woman and a 
little old man and a cow, and I can run 
away from you — I can." 

So the horse jumped the fence and 
chased him down the road, but the little 
Gingerbread Boy looked over his shoul- 
der, and cried : 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

And the horse soon found that he 
couldn't catch him, so he turned and 
went back to the pasture and jumped 
the fence and found a patch of nice 
tender grass which satisfied him more 
than the little Gingerbread Boy could. 

When the horse turned back the little 
Gingerbread Boy did not stop running, 
but kept on and on, and by and by he 
came to a large barn. He heard such a 
queer noise inside the barn, so he 
thought he would stop and see what it 
was. He looked all around the outside 
of the barn, but could see nothing, so 
he said to himself: "What a queer 
noise! I'll g' inside and see what it 
is." 



When he opened the door he found 
that the bam was filled with threshers 
and they were threshing wheat. 

Now these threshers were very hungry, 
and when the little Gingerbread Boy 
opened the door one of the threshers 
said: "I'm just as hungry as I can be 
and I do believe I smell a Gingerbread 
Boy." 

Then another one turned his face to 
the door and said: "Why, there .s one 
now, looking in at the door." 

But the little Gingerbread Boy started 
off as fast as he could and the thresher 
called: "Don't run so fast, Httle 
Gingerbread Boy, you look very good 
to eat." Then they all ran after him. 
But the little Gingerbread Boy ran 
faster than ever, and as he ran he 
shouted : 

"I have run away from a little old 
woman and a little old man, a cow and 
a horse, and I can run away from you 
— I can." 

And when he found that he was ahead 
of the threshers he turned to them: 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

And the threshers couldn't catch him, 
so they went back to the barn and had 
to work harder than ever to make up 
for lost time. 



LANGUAGE AND OCCUPATION WORK 



13. 



By this time the Uttle Gingerbread 
Boy was getting very, very tired and 
he walked on more slowly, but as he 
was walking on very slowly down the 
road he came to a large field where 
a number of mowers were mowing hay. 
When they heard the soft tread of the 
licorice shoes in the dust they looked 
up from their work, and when they saw 
the nice brown Gingerbread Boy their 
mouths began to water, for it had been 
a long time since breakfast, so they 
called out: 

" Wait a bit ! Wait a bit ! We would 
hke to eat you, little Gingerbread Boy ! " 

But the little Gingerbread Boy 
laughed, even though he was very tired, 
and then he ran like the wind, and the 
mowers, as they ran, heard him call 
back: 

"I have run away from a little old 
woman and a little old man, a cow, a 
horse, and a bam full of threshers, and 
I can run away from you — I can." 

And when he found he was ahead of 
the mowers he turned and shouted back 
to them: 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

And the mowers couldn't catch him, 
so they shook their fists at him and 
went on back to their work. 



By this time the little Gingerbread 
Boy was so proud that he didn't think 
anybody could catch him. But he was 
very tired, for he had been running 
ever since he left the little old woman 
and the little old man, so he sat down 
on a large stone by the roadside and 
said: "I'm so tired that I don't know 
what to do. My poor little licorice 
shoes are quite worn out. What would 
the little old woman say if she could see 
me now?" 

Just then he saw a fox coming across 
the field and he said to himself : " There 
comes a fox, but he can't catch me." 
Then he shouted a little louder: "You 
can't catch me, old fox." 

But the old fox was coming so near 
that the Gingerbread Boy decided it 
would be safer to run than it would 
be to sit still, so he got up and ran away 
very fast and as he ran he called to the 
fox who was close behind: 

"I've run away from a little old 
woman, a little old man, a cow, a horse, 
a barn full of threshers and a field full 
of mowers, and I can run away from 
you — I can. 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

Now the fox saw that he would never 
I catch the Gingerbread Boy by running,. 



PAPER CUTTING 




so THE HORSE JUJIPKD THK FENCE AND RAN AiTER HIM 



LANGUAGE AND OCCUPATION WORK 



15 



SO he said : " Why, my dear Uttle Ginger- 
bread Boy, I would not catch you if 
I could. I wouldn't think of hurting 
you, but I would like to walk with you 
if you are going my way." 

The little Gingerbread Boy was so 
pleased with the fox's soft voice that 
he said: "I shall be glad to walk with 
you. I have been running very fast 
and I am quite tired." Just then 
they came to a river and the fox said: 

."Can you swim, little Gingerbread 
Boy?" 

"No," said the Gingerbread Boy, 
"and I don't know how I shall get 
across." 

"I can swim," said the fox. "Jump 
on my back and I will take you across." 

So the little Gingerbread Boy jumped 
on the fox's back, and he swam into 
the river. When he was a little way 
out from the shore he turned his head 
and said: "You will get wet on my 
back, little Gingerbread Boy. Jump 
on my shoulder." 

The little Gingerbread Boy said : " All 
right," and jumped on his shoulder. 

A Uttle farther out the fox said: "I 
am afraid the water will cover you there. 
Jump on my head. " 

"Very well," said the little Ginger- 
bread Boy, and he jumped on his head. 

Just as they neared the shore the fox 
said: "I am sorry to disturb you, but 



you are too heavy on my head. Jump 
on my nose, and I can keep you out of the 
water." 

The little Gingerbread Boy said : " In- 
deed, it's no trouble," and he slipped 
down on his nose. Then the fox threw 
back his head and gave a snap. 

"Dear me!" said the Gingerbread 
Boy, " I am a quarter gone! " 

Then the fox gave another snap and 
the Gingerbread Boy said: "Oh me! 
I am half gone!" 

The next minute he said: "Why, I 
am three quarters gone." And after 
the next snap he didn't say anything, 
but the fox said: 

"Well! That was the best Ginger- 
bread Boy I ever tasted." 

Suggestions for the Dramatization 

All the children in the room can take 
part in the dramatization of the Ginger- 
bread Man, for any number can be 
included in those who represent the 
threshers and the mowers. 

The play opens with a home scene. 
The Little Old Woman and the Little 
Old Man are seated in their kitchen. 
The Little Old Man is reading, while 
the Little Old Woman is knitting. The 
Gingerbread Boy all this time is hidden 
under the table, but when the Little 
Old Woman says, "I will mold it into 
a well-shaped boy/' he comes out very 



16 



LANGUAGE AND OCCUPATION WORK 



quietly, and as she talks she puts on his 
chocolate jacket, also the cinnamon 
buttons, makes his eyes of two fine fat 
currants, puts on the red peppermint 
candy around his lips, gives him a gay 
cap of red candy and presses the licorice 
shoes into shape. Then when he is 
ready for baking she places him in a 
small chair, which serves as a pan, and 
pushes him under the table, which 
serves as an oven. When he is brown 
it is an easy matter to pull out the chair. 
Then the Gingerbread Boy jumps from 
the pan and runs away. 

The field in which the cow is eating 
clover is a short distance from the Little 
Old Woman's house and the cow is 
busy eating when the Gingerbread Boy 
passes by. The child who represents 
the cow should be on his hands and 
knees as if he were grazing, but when he 
runs after the Gingerbread Boy it 
will be necessary for him to take his 
usual running posture. 

The same may be said of the horse, 
who is feeding some little distance from 
the cow. In each case, when the Ginger- 
bread Boy runs away he goes all around 
the room and comes back from where 



he started, while the cow and the horse 
turn back after chasing him a short 
distance. 

The threshers are a little way from 
the horse and can be enclosed in a 
circle of chairs which will represent 
the bam. The Gingerbread Boy pulls 
out one chair when he opens the 
door. As the Gingerbread Boy comes 
near the barn, the threshers make 
a queer buzzing noise which attracts 
his attention. 

The mowers are busy mowing grass 
and follow the same directions as given 
for the others. 

When the fox and the Gingerbread 
Boy reach the river, the fox gets on his 
hands and knees and the Gingerbread 
Boy stands over him as if he were sitting 
on his back. He holds himself up from 
his back and rests his weight on his 
own feet, moving as the fox moves. 
When the fox gives his last snap the 
Gingerbread Boy lets him crawl out 
from under him and drops to the floor. 
The fox then rises and rubbing his sides 
with a look of satisfaction, says: " Well, 
that was the best Gingerbread Boy I 
ever tasted!" 



LANGUAGE AND OCCUPATION WORK 



17 



THE DRAMATIZATION 

Major Characters 

Little Old Woman 
Little Old Man 
Gingerbread Boy 
Fox 

Minor Characters 
Cow 
Horse 

Threshers (any number desired) 
Mowers (any number desired) 

{The Little Old Woman and the Little 
Old Man are sitting by the fire. The 
Little Old Man is reading the paper and 
the Little Old Woman is knitting. The 
Little Old Woman heaves a loud sigh.) 

Little Old Man (laying aside his paper) 
Why, what's the matter, Little Old 
Woman? 

Little Old Woman (wiping her eyes 
with her handkerchief) Oh, I do wish 
we had a little boy here in the house! 
It is so lonesome! 

Little Old Man Well, why don't you 
make one out of gingerbread dough? 
No one can make better gingerbread 
than you. 

Little Old Woman Just the thing! 
(Rises and- brings out dough board and 
other things) Now hsten, and I will tell 
you how I will make it. (Moulds the 
dough as she talks.) I will mix my 
dough well and then I will mold it into 
a well-shaped boy. I will give him a 



chocolate jacket with cinnamon seeds 
down each side of the front for buttons. 
I will use these two fine, fat currants 
for his eyes and some red peppermint 
candy for his lips, while on his head I 
will put a gay cap of red candy and on 
his feet these little shoes made of 
licorice. (Holds the Gingerbread Boy off 
and looks at him.) Now, Little Old 
Man, did you ever see a finer looking 
boy? 

Little Old Man No indeed, and we 
will keep him forever. 

(Little Old Woman puts Gingerbread 
Boy in the oven and sits down to wait for 
him to brown.) 

Little Old Woman Do you think he 
will like living with us here? 

Little Old Man Why not? He can 
go with me to feed the cows and he will 
like to run on errands. But I think he 
must be brown by this time. You had 
better look and see. 

(Little Old Woman opens the door and 
pulls out the Gingerbread Boy.) 

Little Old Womxin What a fine boy! 

[Gingerbread Boy jumps from the pan 
and runs out the door. The Little Old 
Woman and the Little Old Man start after 

him.) 



PAPER CUTTING 





TBKM THE THBE8HEKS RAM AFTER HIM 



LANGUAGE AND OCCUPATION WORK 



19 



Gingerbread Boy {tossing his head and 
looking back) 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man! 

(Ldttle Old Woman and Little Old Man 
turn back. Little Old Woman weeps 
bitterly.) 

Little Old Man (taking Little Old 
Womxin's hand) Don't cry. He is still 
our little Gingerbread Boy if he is out in 
the world. 

Little Old Woman (drying her eyes) I 
hadn't thought of that. I shall go home 
and try to be happy, for no doubt we 
shall hear of him some day again. 

(Gingerbread Boy runs on and on till 
he comes to a field where a cow is eating 
clover.) 

Cow (looking up and stretching her 
neck) Who is that coming down the 
road? I do believe it is a little Ginger- 
bread Boy! (Calls loudly) Stop, little 
Gingerbread Boy! I want to eat you. 

Little Gingerbread Boy (stops and looks, 
then laughs) I have run away from a 
httle old woman and a little old man, 
and I can run away from you — I can. 

(Cow begins to run and Gingerbread 
Boy quickens his pace.) 



Gingerbread Boy (calls over his shoul- 
der) 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man! 

(Cow returns to the pasture and begins 
eating grass. Gingerbread Boy runs on 
until he comes to a field where a horse is 
grazing.) 

Horse (looking up) Why, if there 
isn't a little Gingerbread Boy. I haven't 
tasted one for a long, long time. (Calls 
out loudly) Please stop, little Ginger- 
bread Boy! You look very good to eat. 

Gingerbread Boy (laughing and holding 
his sides) Oho! Oho! I have run 
away from a little old woman, a little 
old man and a cow, and I can run away 
from you — I can. 

(Gingerbread Boy runs. Horse jumps 
the fence and chases after him.) 

Gingerbread Boy (looking over his shoul- 
der) 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

(Horse turns back towards the field, 
jumps the fence and begins eating grass. 
Gingerbread Boy runs on and reaches a 
large barn, where he hears a queer noise. 
Looks all around the barn.) 



PAPER CUTTING 




THEN TBS MOWEKS RAN AFTER HIM 



LANGUAGE AND OCCUPATION WORK 



21 



Gingerbread Boy (with a puzzled look) 
What a queer noise! I'll go inside and 
see what it is. 

{Opens door and finds that the barn is 

full of threshers.) 

Thresher No. I {looking around) I'm 
so hungry, and I do believe I smell a 
Gingerbread Boy. 

Thresher No. II {in surprised manner) 
Why, there he is now, looking in the 
door! 

{Gingerbread Boy runs away rapidly.) 

Threshers {running after the Ginger- 
bread Boy) Don't run so fast, little 
Gingerbread Boy. You look very good 
to eat. 

Gingerbread Boy {looking over his shoul- 
der) I have run away from a little old 
woman, a little old man, a cow and a 
horse, and I can run away from you — I 
can. 

{Runs on faster,' then turns and shakes 
his fist at the threshers.) 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

(Threshers turn back and resume their 
work. The Gingerbread Boy walks on 
more slowly until he reaches a field where 
some mowers are at work.) 



Mowers (looking up from their work) 
Wait a bit! Wait a bit, little Ginger- 
bread Boy! We would like to eat you! 
Wait, I say! 

Gingerbread Boy (laughing loudly) 
Oho! Oho! I have run away from a 
little old woman, a little old man, a cow, 
a horse and a barn full of threshers, and 
I can run away from you — I can. 

{Runs on farther and shouts over his 
shoulder.) 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man!" 

(Mowers shake their fists in anger and 

return to the field.) 

Gingerbread Boy {sitting down on a 
stone by the roadside) I'm so tired that 
I don't know what to do. (Examines 
shoes carefully.) My poor little licorice 
shoes are quite worn out. What would 
the little old woman say if she could see 
me now? (Shades his eyes with his 
hands, and looks down the road.) There 
comes a fox, but he can't catch me. 

(Shouts loudly) You can't catch me, 
old fox! 

(Fox comes on closer and closer and 
Gingerbread Boy gets up and runs down 
the road.) 

Gingerbread Boy I've run away from 



22 



LANGUAGE AND OCCUPATION WORK 



a little old woman, a little old man, a 
cow, a horse, a barn full of threshers and 
a field full of mowers, and I can run 
away from you* — I can. 

"Run! run! as fast as you can! 
You can't catch me, I'm the Ginger- 
bread Man." 

Fox {slowing down to a walk) Why, 
my dear little Gingerbread Boy, I 
would not catch you if I could. I would 
not think of hurting you, but I would 
like to walk with you if you are going 
my way. 

Gingerbread Boy {turns around and 
walks back to meet the Fox) I will be glad 
to walk with you. I have been running 
so fast and I am very, very tired. 

{Fox and Gingerbread Boy walk on to- 
gether until they reach a river.) 

Fox {stopping on the bank of the river) 
Can you swim, little Gingerbread Boy? 

Gingerbread Boy {tearfully) No, and I 
don't know how I shall get over, but I 
want to get on the other side. 

Fox I can swim, so jump on my back 
and I will take you across. 

{Gingerbread Boy jumps on the Fox's 
back and the Fox swims out into the river.) 



Fox {turning his head) You will get 
wet on my back, little Gingerbread Boy. 
Jump on my shoulder. 

Gingerbread Boy (jumping forward) 
All right! 

Fox I am afraid the water will cover 
you there. Jump on my head. 

Gingerbread Boy (jumping forward) 
Very well! 

Fox I am very sorry to disturb you, 
but you are too heavy on my head. 
Jump on my nose and I can keep you 
out of the water. 

Gingerbread Boy (slipping down) In- 
deed, it's no trouble! 

(Fox throws back his head and snaps 
off a piece of the Gingerbread Boy.) 

Gingerbread Boy Oh me, I'm half 
gone! 

(Fox throws back his head and snaps 
again.) 

Gingerbread Boy Why, I'm three 
quarters gone! 

(Fox throws back his head and snaps 
again, and the Gingerbread Boy disap- 
pears by dropping down behind the Fox. 

Fox (rubbing his side) Well, that was 
the best Gingerbread Boy I ever tasted) 



LANGUAGE AND OCCUPATION WORK 



23 



SAND-TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 

This is one of the few stories which 
can be given a complete demonstration 
on the sand-table. 

On the left-hand side of the table can 
be placed the home of the Little Old 
Woman and the Little Old Man. 

It should be made of rolled clay logs. 
The log should be placed while they are 
still soft and the doors and windows 
should be cut as soon as the logs are 
laid in place. 

The log portion of the house should 
be 10" long, 8" wide and 4^" high. 

A roof 5" high, made from gray con- 
struction paper, should be placed on 
top of this, and we will have a typical 
log house. 

The yard which surrounds this house 
is enclosed by a rude woven fence, 
three rails high, made from 5" sticks, 
such as the children use in their number 
work. 

In the road outside the fence we see 
the Little Old Woman and the Little 
Old Man looking wistfully after the 
Gingerbread Boy. 

The Little Old Woman and the Little 
Old Man should be cut from paper. 

The Gingerbread Boy, who is seen 
trudging down the road, should be 
molded from clay. When the clay is 



very dry the boy can be given a choco- 
late jacket by marking off a jacket on 
the upper part of his body and coloring 
it with dark brown water color. 

Black spots to represent cinnamon 
seed buttons can be put down either 
side, and while the clay is soft, black 
beads can be stuck in to represent eyes. 
Red water color will answer for the 
peppermint candy of which his lips 
were made, and also for the red candy 
cap. 

Black water color can be used for the 
licorice shoes. 

To the left of the log house we see an 
open pasture, thickly covered with green 
waxola. Here we find a cow feeding. 

The pasture in which the horse is 
grazing is situated a little distance from 
this. This pasture should be enclosed 
by a fence. One cut from bristol board 
will answer the purpose. 

Next we see the barn, which can be 
made of light construction paper. Out- 
side this barn are three threshers ready 
to begin their chase. 

The field in which the mowers are 
busy is not far from the barn. They 
are watching the progress of the Ginger- 
bread Boy. 

On the right hand side of the table 
we find the river over which the fox 
helped the Gingerbread Boy. 

This is represented by a piece of tin, 



PAPER CUTTING 




'well! that was the BK8T GINGER BREAD BOY I EVER TASTED" 



LANGFAGE AND OCCUPATION WORK 



25 



the edges of which are buried in the 
sand. 

On the bank of* this river is the large 
stone on which the Gingerbread Boy 
rested. 

On the river we see the fox: first, 
with the whole Gingerbread Boy on his 
nose. Then we see the Gingerbread 
Boy one quarter gone; then one half 
gone; then three quarters gone, and 
on the other side of the river we find 
the fox with a very satisfied expression 



as he says: "Well, that was the best 
Gingerbread Boy I ever tasted." 

A road of white sand runs from the 
log house on past the river. 

We find boxwood sprigs, which repre- 
sent trees, scattered over the sand-table 
so as to make the scene more effective. 

The cow and the horse, as well as the 
mowers, the reapers, and the fox, in his 
many positions, should be cut from stiff 
construction paper and mounted so as 
to stand alone. 



PAPER CUTTING 




THEN THE FOX SAID : 



"JUMP ON MY 8H0ULDKR" "I'M QUARTER GONE !" "I'M HALF GONE ! " "IM THBIE QUABTEB8 GONE ! " 



I— I 

H 




LITTLE HALF CHICK 



THE STORY 

A long, long time ago, there lived 
in a poultry yard a large, handsome 
white hen. She had a brood of twelve 
chickens. Eleven of these were fluffy, 
fat little fowls, but the twelfth was 
made all wrong. Where the others 
had two legs, he had only one. Where 
the others had two wings, he had only 
one. He had one eye, one ear and half 
of a bill and half of a tail. 

When his mother heard the egg click 
and looked down in her nest and saw 
this queer-looking chicken, she jumped 
up in amazement, crying : "Why, you're 
not a chicken at all! You're just a 
half chick." So ever after he went by 
the name of Little Half Chick. 

Now, strange to say, the mother hen 
loved Little Half Chick more than she 
did her other children, but he was a 
wayward little fowl and was sometimes 
just a little saucy to his mother. He 
would often run away and stay until 
she was half frantic with fear that he 
was lost, and when she called he pre- 
tended not to hear, for you see he had 
only one ear and was not supposed to 
hear quite so well as the other chickens. 



One day he was playing in the corn- 
field when his mother called him. He 
did so love to play in this field, for he 
could jump from furrow to furrow with 
his one little leg, and it made him feel 
so good when he was successful and made 
a big jump without stumbling. He was 
having such a good time when his 
mother called that he did not answer. 
He said to himself: "She may have a 
nice fat worm for me, but if I run ever 
so fast some of the others will get there 
before I do and seize the prize. So I 
will stay here and play." 

Now Little Half Chick had often 
heard how great and wonderful were 
the lives of the chickens who fed in the 
king's poultry yard and he felt that if he 
could only go there he would never 
have another trouble. So he deter- 
mined that he would go, and he started 
off, hoppity-skip, hoppity-skip. But 
when he had gone a short distance he 
remembered his mother at home and 
thought how she would worry when he 
did not come to his supper at the usual 
time. So he turned around, hoppity- 
skip, hoppity-skip, and went back to the 
poultry yard and said: "Mother, I'm 

27 



28 



LANGUAGE AND OCCUPATION WORK 



sick and tired of this old poultry yard. 
I'm going off to Madrid to see the 
king." 

"To Madrid to see the king!" said 
his mother. "Why, you foolish chick! 
Madrid is many, many miles away from 
here and a whole chick couldn't get 
there for many, many days, and you 
are only a half chick. Stay at home 
like a good little fowl, and when you get 
larger and have more feathers, I'll take 
you to Madrid to see the king." 

"No," said Little Half Chick, tossing 
his head, "I've made up my mind and 
I'm going to Madrid." So off he went, 
hoppity-skip, and did not heed his 
mother's voice as she called and called 
for him to return. 

And of course she couldn't catch him, 
for she was in the poultry yard and 
couldn't get out, while he was so small 
that he could crawl under the fence. 

So Little Half Chick went on, hoppity 
skip, hoppity-skip, down the road, but 
he soon decided that it would take a 
life-time to get to Madrid if he kept to 
the road. So he took a path which led 
through a field. It was a beautiful 
green field and a little brook ran through 
it. Little Half Chick heard the gurgle 
of the water and said to himself : " That 
must be quite a river. It is making 
such a noise." But when he came near 
he found that it wasn't the size of the 



brook that caused it to make so much 
noise. It was choked with weeds and 
could not flow. Long before Little 
Half Chick reached it he could hear its 
gurgle, gurgle, gurgle. And when he 
came near, it cried: "Oh, Little Half 
Chick, help me! Pull out these weeds 
and let my water flow on! Please, 
Little Half Chick, don't leave me like 
this!" 

"Help you, indeed!" cried Little Half 
Chick, shaking his head and pointing 
his half bill high in the air. " I haven't 
time to help you. I'm off to Madrid 
to see the king." 

Then hoppity-skip, hoppity-skip, went 
Little Half Chick and left the little 
brook all alone. 

He had not gone very fai before he 
came to a fire in the woods. The fire 
had started in some dry leaves, but 
it was going out because it needed some 
sticks to keep it alive. As Little Half 
Chick came near, the fire called out 
in a weak little voice: "Oh, Little 
Half Chick, bring me some sticks! 
Help me, or I shall die!" 

"I'd like to see myself helping you," 
said Little Half Chick. "I'm going to 
Madrid to see the king and haven't 
time to trouble with you." And he 
flapped his little wing in the most 
insolent manner and went hoppity-skip, 
hoppity-skip, down the path. 



LANGUAGE AND OCCUPATION WORK 



29 



The next morning, as he came in sight 
of Madrid, he saw a large oak tree and 
he heard such a moaning and sighing 
in its branches that he stopped to see 
what was the cause of the queer noise. 
He found that the wind was caught and 
entangled in the limbs. 

Now when the wind found that Little 
Half Chick was so near he cried out: 
"Oh, Little Half Chick, you are just 
in time! Come up this tree and pull 
me out of these thick branches! Help 
me. Little Half Chick, please!" 

"You're talking to the wrong person," 
said Little Half Chick. "Call on some 
one who has more time than L I'm on 
my way to Madrid to see the king." 
And hoppity-skip, hoppity-skip, he went 
on down the road. 

He was now quite close to Madrid. 
So near, in fact, that he could see the 
king's castle just ahead. "This must 
be the king's house," he said. "It's 
hard to tell which is the front and which 
is the back of this house. It all looks 
alike." Then as he saw a man coming 
down the steps, he said: "That must 
be the king. I must stand up straight 
and look my very best, for I am to rule 
his poultry yard." 

Then Little Half Chick cleared his 
throat and was just ready to say good- 
morning, but the sharp sound made the 
man, who was the king's cook, look his 



way. When he saw Little Half Chick 
he ran towards him, saying: "This 
is just what I want for the king's dinner. 
I'll take it in and make some broth." 

Little HaK Chick started to run, 
hoppity-skip, hoppity-skip, but the cook 
was too fast for him, and he caught him 
and put him in the pot. 

Little Half Chick didn't like it in the 
pot at all, for it was wet and very un- 
comfortable. The water came up over 
his head, and, try as he would, he could 
not keep from going under. So he 
called: "Water! Water! do not wet 
me so!" 

"Ah!" cried the water, "when I was 
in trouble you would not help me!" 
And it bubbled and boiled all around 
Little HaK Chick. 

"Now," thought Little Half Chick, 
"if the water will not help me I will call 
on the fire." So he cried: "Fire! P^e! 
do not cook me!" 

"Ah!" said the fire, "when I was in 
trouble you would not help me!" And 
he went on burning brighter and 
brighter. 

Just then the wind came rushing by 
to see what all this noise in the king's 
kitchen was about, and when Little 
Half Chick heard it he said to himself: 
"Now's my chance. The wind cer- 
tainly will help me." So he called: 
"Wind! Wind! come and help me!" 



Pi 
< 

P4 




LANGUAGE AND OCCUPATION WORK 



31 



"Ah!" cried the wind, "when I was 
in trouble you would not help me! 
But come with me; I will do something 
for you." 

Then the wind lifted Little Half Chick 
out of the pot and blew him around the 
room and out of the window. Up and 
down the street, over the houses, the 
wind whirled him until Little Half 
Chick cried out: "Stop! Don't go 
so fast! I'm out of breath!" 

Then the wind set him down on the 
highest steeple in Madrid and it left 
him sticking to the tiptop of the steeple, 
standing on one leg with his little half 
bill pointed high. And there you will see 
him to-day. Little Half Chick always 
turns whichever way the wind blows. 
He can never leave the steeple, but must 
stay up there in the rain as well as 
in the sunshine, for this is how the first 
weathercock came to be. 



Suggestions for the Dramatization 

Some chalk-marks drawn on the floor 
may be used to represent the furrows 
in the cornfield over which Little Half 
Chick is jumping. 

The poultry yard in which the mother 
hen is fastened should be enclosed by 
chairs, leaving a small opening through 
which Little Half Chick and the other 
chickens pass. 



As Little Half Chick has but one leg 
he hops about, hoppity-skip, all the time 
and he also makes use of only one 
wing (arm). 

The child who represents the brook 
sits quietly until Little Half Chick 
approaches her, then she begins to 
" gurgle, gurgle, gurgle." The fire, which 
is represented by a small child in a 
crouching position, is almost out. The 
child raises one hand and waves it 
gently to and fro with a flickering mo- 
tion to represent a slowly dying fire. 
The child who represents the wind 
should be on a chair or table. He 
should move from side to side with a 
swaying motion and at the same time 
imitate the noise of the wind in the 
branches of a tree. 

When the cook captures Little Half 
Chick he takes him in the kitchen and 
places him under a table or between two 
chairs, which represent the pot, and the 
children who represent the brook and 
the fire come under the table also, while 
the wind waits at one side, ready to rush 
in when needed. 

When Little Half Chick asks the water 
not to wet him, the child hovers over 
him and flings her arms over his head 
several times. The fire, too, when re- 
quested not to cook him, leaps up and 
down, as if burning very brightly. 

Then the wind comes tripping in 



PAPER CUTTING 




HOW THE FIRST WEATHER VANK CAME TO BE 



LANGUAGE AND OCCUPATION WORK 



33 



lightly and asks the reason for all this 
confusion. He takes Little Half Chick 
by the wing (arm) and lifts him out of 
the pot. Then he trips lightly around 
the room with him, and, at last, leaves 
him on a chair, where Little Half Chick 
turns roimd and round mechanically, 
while the wind goes on his journey, 
waving a last good-by to the weather- 
cock. 

THE DRAMATIZATION 

Major Characters 

Little Half Chick 

Mother Hen 

Brook 

Fire 

Wind 

Minor Characters 

Cook 
Chickens (two) 

(Mother Hen is scratching in the yard. 
Little Half Chick is playing in the field 
near by, jumping from furrow to furrow. 
The other eleven chickens are scattered 
around, searching and picking, here and 
there.) 

Mother (finding a worm) Chuck! 
chuck! chuck! (The eleven chickens 
hasten to share worm.) 

Mother Little Half Chick! Little 
Half Chick! 

Little Half Chick (pausing in his play 
and listening) She may have a nice 



fat worm for me. But if I run ever so 
fast some of the others will get there 
before I do and seize the prize, so I will 
stay here and play. (Resumes his play, 
continues for a while, and then stops 
abruptly.) It certainly is dull here. 
Everything is always the same and we 
never find very many worms. I'm just 
as tired as I can be of this old place . I' ve 
heard that the fowls in the king's 
poultry yard live high. I believe I was 
made to rule a poultry yard such as the 
king would have, so I think I'll go 
off to Madrid and see the king (hops off 
on one foot a short distance, then stops 
abruptly). I ought not to go off like 
this without telling Mother good-by. 
When supper-time comes and she can't 
find me, she will be worried. I guess 
I'd better go back and see her first. 

(Little Half Chick turns and hops back 
to the poultry yard, where he finds his 
mother.) 

Mother Where have you been. Little 
Half Chick? I have been looking every- 
where for you. 

Little Half Chick I've been playing 
in the cornfield. You know I have only 
one ear and can't always hear you 
when you call. 

Mother You're very naughty, Little 
Half Chick, and I shall have to fasten 
you up if you do not mind me better. 



34 



LANGUAGE AND OCCUPATION WORK 



Little Half Chick {tossing his head) 
Fasten me up, indeed! I'm sick and 
tired of this old poultry yard. I'm 
going off to Madrid to see the king. 

Mother To Madrid to see the king! 
Why, you foolish little chick! Madrid 
is many, many miles away from here, 
and a whole chick couldn't get there for 
a great many days and you are only a 
half chick. {Strokes Little Half Chick's 
feathers gently.) Stay at home like a 
good little fowl and when you get larger 
and have more feathers, I'll take you 
to Madrid to see the king. 

Little Half Chick {stamping his foot 
impatiently) No, I've made up my 
mind and I'm going to Madrid. 

{Little Half Chick turns and hops off.) 

Mother Little Half Chick, come back! 
. Come back, and I'll find you a nice 
fat worm! 

{Mother runs to the fence and tries 
to get out, hut finally gives up in despair.) 

Little Half Chick {stopping in the 
middle of the road) I believe it would 
take me a life-time to get to Madrid if I 
kept on this road. There's a path that 
leads through a field — I think I'll try 
that. {Turns and goes through the field. 
After hopping a short distance he hears 
the gurgle of water, stops and listens.) 
It must be quite a river, it's making 



such a noise. {Walks on until he comes 
to a brook and then stops.) It's nothing 
but a little brook, after all. But it's all 
stopped up with weeds. That's why it's 
making such a noise. 

Brook Oh, Little Half Chick, help 
me! Pull out these weeds and let my 
water flow on! Please, Little Half 
Chick! Don't leave me like this! 

Little Half Chick {holding his head 
high) Help you, indeed ! I haven't time 
to help you. I'm off to Madrid to 
see the king. 

{Little Half Chick hops on. After 
going a short distance, he smells smoke.) 

Little Half Chick {sniffing the air) I 
do believe I smell smoke. I wonder 
what is burning. {Hops on and coTnes 
to a fire, where he stops.) Why, here is 
the fire; but it seems to be all smoke. 
It is almost out. 

Fire Oh, Little Half Chick, bring me 
some sticks! Help me or I shall die! 

Little Half Chick I'd like to see my- 
self helping you. I'm going to Madrid 
to see the king and haven't time to 
trouble with you. {Flaps his wings 
in an insolent manner and hops on down 
the path until he conies to a large oak tree, 
where he hears a queer noise in the 
branches.) I wonder what that queer 
noise is {stops and examines tree). Oh, 
I see! The wind seems to be caught in 



LANGUAGE AND OCCUPATION WORK 



35 



the limbs. They certainly are very 
thick. 

Wind Oh, Little Half Chick, you 
are just in time! Come up this tree 
and pull me out of these thick branches! 
Help me. Little Half Chick, please! 

Ldttle Half Chick You're talking to 
the wrong person. Call on some one 
who has more time than L I'm on my 
way to Madrid to see the king. 

(Little Half Chick hops on down the 
road.) 

Little Half Chick {coming In sight of 
Madrid) I'm getting very near the 
city now. I'll soon be at the king's 
house. {Sees the castle close by.) This 
must be the king's house. It's hard 
to tell which is the front and which is 
the back of this house. It all looks 
alike. 

{The cook comes down the steps and 
walks towards Ldttle Half Chick.) 

Little Half Chick That must be the 
king {straightens up). I must stand up 
straight and look my very best, for I am 
to rule the king's poultry yard. 

{Little Half Chick clears his throat. 
The noise attracts the cook's attention 
and he discovers the fowl.) 

Cook {running towards Ldttle Half 
Chick) This is just what I want for the 



king's dinner. I'll take it in and make 
some broth. 

{Ldttle Half Chick starts to run away, 
but the cook catches him and takes him 
into the kitchen, where he puts him in a 
pot.) 

Little Half Chick {struggling in the pot) 
I don't like it in here at all. It's so 
wet and uncomfortable. When I think 
I'm on top I go right under. I will call 
to the water and perhaps it will help me. 
{Calls loudly.) Water! Water! Do 
not wet me so! 

Water {bubbling and boiling harder and 
harder than ever) Ah! when I was in 
trouble you would not help me! 

Little Half Chick Well, if the water 
will not help me, I will call on the fire. 
{Calls loudly) Fire! Fire! Do not 
cook me! 

Fire (leaping up> higher than ever) 
Ah! when I was in trouble you would 
not help me! 

(Wind rushes in by the pot where Little 
Half Chick is boiling.) 

Wind What is all this noise about in 
here? 

Little Half Chick {to himself) Now's 
my chance. The wind certainly will 
help me. (Calls loudly) Wind! Wind I 
Come and help me ! 

Wind Ah! when I was in trouble 



36 



LANGUAGE AND OCCUPATION WORK 



you would not help me! But come 
with me. I will do something for you. 

{The Wind lifts Little Half Chick 
from the pot and blows him around the 
room and out of the windows; then up 
and down the street and over the houses.) 

Little Half Chick Stop! Don't go 
so fast! I'm out of breath! 
Wind {placing him on a high steeple) 
I will place you on this high steeple 
and you will stand on one leg forever. 
You will always keep your little bill 
pointed high and whichever way the 
wind blows you will turn. You have 
to stay here in the rain as well as in the 
sunshine and people will call you a 
weathercock. 

(Wind waves his hands and leaves 
Little Half Chick. Little Half Chick 
turns round and round mechanically.) 

SAND-TABLE DEMONSTRATION 
(For illustration of sand-table, see Appendix.) 

This is another story the whole of 
which can be demonstrated on the 
sand-table. 

There are three distinct scenes. The 
first centers around the barnyard, the 
second around the castle, and the third 
shows the ultimate end of Little Half 
Chick. 

This first is a very simple scene and 



the right side of the sand-table can be 
devoted to it. It will be necessary to 
construct a barn from paper for the 
barnyard scene. The land surround- 
ing this should be fenced in. A woven 
fence made from 5" sticks, such as the 
children use in their nimiber work, will 
be very effective. There should be 
numerous fowls in the barnyard ; ducks, 
chickens, turkeys and even chattering 
guineas. Here also is seen the mother 
hen and her eleven fluffy, fat little fowls. 
These can be cut from paper so as to 
stand alone. There should be several 
trees in the barnyard — small twigs from 
boxwoo'd trees will answer for these. 

The cornfield in which Little Half 
Chick is playing is to the left of the barn- 
yard and should be laid off in fiurows. 
Tiny ends of boxwood twigs will repre- 
sent the growing corn. Here we find 
Little Half Chick with his one leg, 
one wing, and half bill, jumping from 
furrow to furrow. Little Half Chick 
is also cut from paper so as to' stand 
alone. 

The second scene should be placed 
on a line with the barn at the center of 
the back of the sand-table. 

The castle should be built of clay 
bricks, which the children can easily 
mold. Convenient dimensions for the 
bricks are 2}/^" long by 1}4" wide by 
%" thick. 



LANGUAGE AND OCCUPATION WORK 



37 



The tower should be built first. It 
should be built while the bricks are 
still soft, so they can be pressed into 
shape and made to come nearer the 
center of the tower as it nears the top. 

The tower should be 7" in diameter 
at the base and 4" at the top and the 
clay structure should be 12" high. 

The top of the tower should be 
covered by a flat piece of cardboard, 
which fits the opening, and this should 
be surmounted by a paper cone cut 
from gray construction paper to repre- 
sent slate. 

To the left side of the tower can be 
built the other part of the castle. This 
also should be built of the moist bricks, 
and should be rectangular in shape, 
9" X 7". This should keep the same 
dimensions all the way up for 8". 
The roof of this should be a slanting 
roof 5" high. This should also be made 
of gray construction paper to represent 
slate. 

The steps of the castle, which extend 
all across the rectangular portion, should 
be built of dried clay bricks laid in 
rows, the first row being three bricks 
thick, the second, two, and the third, one. 

A paper cutting of a cook dressed in 
his long white apron and his white cap 
should be placed on the steps of the 
castle. His coat and trousers should be 
colored with black ink, for he is the 



king's cook and should be perfectly 
attired. 

Little Half Chick is in the road in 
front of the castle, standing on one leg, 
with his little half bill pointed high. 

From the barnyard to the town hall, 
which makes the last scene, is a winding 
road which leads by the castle. This 
can be marked on the sand-table by dry 
white sand. 

The last scene is a very simple one. 
On a line with the castle and built in the 
left-hand corner of the table is a tall 
building made of clay bricks. 

This building should not be as impos- 
ing as the castle and can be very 
effectively built in a rectangular shape 
7" long, 5" wide and 7" high. This 
should be surmounted by a very high 
steeple, cut from gray construction 
paper. The steeple should be 12" 
high. On top of this steeple is placed 
a weather vane cut from stiff card- 
board. Here, too, we find Little Half 
Chick, for he stands upon the tiptop 
of the weather vane and tells us at all 
hours the direction of the wind, for 
he is the first weathercock. 

Two rows of dry clay bricks laid so as 
to form a rectangle 7" x 5" will form a 
floor to the porch of this building, and 
four rolled paper columns 6" high 
will make excellent pillars. Plain white 
drawing paper can be used for this. 



o 

o 

Pi 

w 

Oh 




LITTLE FOOTSTEPS-UPON-THE-WATER 



THE STORY 

Once upon a time there was a little 
Indian boy. His skin was very brown, 
his eyes were large and black, and his 
hair was long and straight. 

When he was a tiny little boy, he was 
called Little Papoose, but the time 
came when he was to have another 
name, and his father and mother 
watched him for days to see what 
this name should be. One day his 
father said: "I know what we will 
name our boy. We will call him Foot- 
steps-Upon-the- Water, because he can 
run so fast and so quietly." 

One day the Indian mother was 
sitting just inside the wigwam weaving 
a basket and the Indian father had gone 
away to hunt. Little Footsteps-Upon 
the- Water was shooting arrows in the 
woods near by. By and by he saw a 
little gray creature come near. Then 
he saw two bright eyes and he knew it 
was a squirrel. 

Now Footsteps-Upon-the- Water was 
a good little boy and he disliked very 
much to hurt anything. He wouldn't 
shoot the squirrel with his arrow. Oh, 
no — but he did want to play with it, 



for he had no little brothers and sisters, 
and he was often very lonely. 

So when he saw the squirrel he said 
to himself: "Oh, what a pretty squir- 
rel! How I should like to play with 
him! Come, little squirrel, I want you 
for my brother." But the squirrel 
didn't care to be his brother and he 
turned and ran as fast as he could. 
Little Footsteps-Upon-the-Water ran, 
too. Oh, how he did run! 

He ran on and on, past the big oak 
trees, on and on, past the big rock 
where the bears feed, and on and on, 
still farther. 

The squirrel fairly flew and Little 
Footsteps-Upon-the-Water fairly flew. 
But at last the squirrel came to a hollow 
log and he ran inside as quick as a flash. 
Footsteps-Upon-the-Water went inside, 
too, but he was not as small as the squir- 
rel. When the squirrel saw that the 
little boy was close behind him he darted 
out the other end of the log, but little 
Footsteps-Upon-the-Water got in the 
middle and couldn't get out. He tried 
and tried, but he was stuck fast and 
could go neither backwards nor forwards. 
His mother finished weaving her bas- 

39 



40 



LANGUAGE AND OCCUPATION WORK 



ket, then she cooked some good buffalo 
meat for the father's supper, for she 
knew he would be hungry when he re- 
turned from the hunt. She was just 
taking the steaming meat from the fire 
when the father came. 

"Where is little Footsteps-Upon-the- 
Water?"hesaid. 

"Right out in the woods," said the 
mother. "Shout for him, and he will 
come." 

Then the father put his big hands to 
his mouth and called: "Little Foot- 
steps-Upon-the-Water!" "Little Foot- 
steps-Upon-the-Water!" but the little 
boy did not answer. 

Then the mother became alarmed and 
said: "Now, since I remember, I don't 
believe I have seen him for some time. 
What if the poor child is lost and a bear 
should get him!" And she wept 
bitterly. 

The father looked troubled, but he 
said: "I will go into the woods and 
search for him. I feel that I cannot 
eat or sleep until our boy is found." 
So he left the meat untasted, and 
throwing his gun over his shoulder he 
went out into the woods. 

He searched and searched many moons 
and the mother sat at home in the 
wigwam crying, but no trace of Little 
Footsteps-Upon-the-Water was found. 

The boy in the log pounded and 



pounded and shouted and shouted. He 
thought no one was ever coming to let 
him out. 

But one morning as he shouted and 
pounded, he heard on the outside of 
the log a queer rap, tap; rap, tap; and 
a shrill voice called, "Footsteps-Upon- 
the-Water, are you there? Are you 
there?" 

At first he did not answer, for he 
thought the voice so queer and he felt 
that life in the log was better than death 
outside. 

But soon he saw a wrinkled brown 
face with a fringe of arrows all around 
it and two kind, gentle eyes, and he 
recognized Grandmother Porcupine, and 
knew that she had come to help him 
out. Then he called loudly: "Yes, I 
am here. Help me out! I am stuck 
fast in the log." 

Then Grandmother Porcupine said: 
"I heard you cry and I traveled three 
days and three nights to help you." 
So she scratched and scratched at the 
end of the log, but she couldn't get the 
little boy out. 

"I'm afraid I'm not quite strong 
enough," said Grandmother Porcupine. 

Now when Little Footsteps-Upon-the- 
Water heard this he began to cry, for 
he did want to get out of the log so 
badly. 

"Never mind," said Grandmother 



LANGUAGE AND OCCUPATION WORK 



4i 



Porcupine, blinking her eyes to keep 
back the tears. "I will run and get 
my three grandsons. They live up 
in the old hemlock tree just a little 
distance from here." 

So away she bounded over the dead 
leaves, and when she reached the hem- 
lock tree she found her three grandsons 
sleeping soundly. She called and called 
and thumped and thumped, and at last 
they called out, "Who's there?" 

"It is your grandmother. There is 
a little boy caught in a log up there. 
I want you to come and help me get 
him out." 

"All right," said the young porcu- 
pines, and they jumped up in a hurry 
and scampered away to the hollow log. 
Then they scratched and scratched at the 
end of the log and made so much noise 
that the Bear who lived near came over 
to see what the trouble was. 

The Wolf thought the scratching 
meant something to eat, and over he 
came too. And while they were scratch- 
ing, up came the Deer and he had to be 
told the story also. 

So they scratched and scratched, and 
at last the little boy was able to crawl 
out. 

How he clapped his hands and danced, 
but he could scarcely see, for he had 
been in the log many days. So he 
hid his face in Grandmother Porcupine's 



breast and peeped just a little at a time 
till everything seemed quite natural. 
And when he opened his eyes, there sat 
Grandmother Porcupine, her Three 
Grandsons, the old Bear, the Wolf, and 
the Deer. 

"Now," said Grandmother Porcupine, 
"this little boy needs a mother. I am 
too old to take care of him. Who will 
be his mother?" 

" I will be his mother," said the Deer, 

"The idea!" said Grandmother Por- 
cupine. " That would never do. Why, 
you are always going from place to place 
and the little boy would have no home 
in winter. No, no, you couldn't be 
his mother." 

"What kind of a mother do you 
think I would make?" said the Wolf, 

"A bad enough one," said Grand- 
mother Porcupine. "Your teeth are 
too sharp. You would never do." 

"I will be his mother," said the good 
old Bear. " I have a warm house in the 
rocks, and I always have plenty to eat. 
Why, this very night I have berries and 
nuts enough to feed a dozen boys." 

"Well," said Grandmother Porcupine, 
"you shall have Little Footsteps-Upon- 
the- Water, but you must not let your 
cubs teach him any rough tricks," 

So the Bear took little Footsteps- 
Upon-the- Water by the hand and he 
told Grandmother Porcupine, the Three 



o 



Q 
Pi 

Ph 




LANGUAGE AND OCCUPATION WORK 



4a 



Grandsons, the Wolf and the Deer 
good-by, and they went on towards the 
Bear's house, which was a cave in the 
rocks, with little rooms just like a real 
house. 

Little Footsteps -Upon -the -Water 
asked a great many questions as he 
trudged along, and Mother Bear an- 
swered them all, and when they came 
to the house she introduced him to her 
three little cubs. 

' ' Now, Little Footsteps - Upon - the 
Water," she said, "this is Baby Bear. 
He is very dear and sweet. You will 
like him, I am sure. This is Girlie 
Bear, and this is Boy Bear. They 
will all love you and you must never 
quarrel with each other. Do you under- 
stand?" 

Little Footsteps-Upon-the- Water said 
he understood, and ^all the little cubs 
bowed very low. 

Then Mother Bear tucked them all 
in bed and the little boy slept better 
than he had ever slept in his life, al- 
though his bed was of straw spread on a 
hard rock. 

The next morning Mother Bear called 
all the children together and told them 
if they saw a man coming with a bow 
and arrow they must run away. And 
that very day, while they were playing 
out in the yard, a man came very close 
to the house. 



All the children screamed for Mother 
Bear, and she came and chased him away 
with a forked stick. They thought the 
man had gone for good and Mother Bear 
suggested that they all go and look for 
chestnuts, but just as they were ready 
to start, up came the man again. 
Mother Bear picked up a bag of feathers 
she had set aside for pillows and threw 
them with all her strength at the man. 
Then such a sputtering time as he did 
have. They went in his mouth and in 
his eyes, and he ran so far and so fast 
that they felt sure he was gone for good. 

They went on into the woods for 
chestnuts, and found so many that even 
little Baby Bear filled his sack. Mother 
Bear had two sacks. One she carried 
on her shoulder and the smaller one 
she took in her hand. Just as the sun 
was sinking behind the rocks they 
reached their house. 

Everything seemed very quiet about 
the yard, and Mother Bear was thinking 
how good the beds would feel. But 
just as they turned the corner of a big 
rock, out jumped the man with the bow 
and arrow. Mother Bear threw the 
small bag of chestnuts at him, but it did 
no 'good. He shot an arrow at her and 
she fell to the ground. 

Little Footsteps - Upon - the - Water 
came running to help her and all the 
little cubs flocked around crying. 



44 



LANGUAGE AND OCCUPATION WORK 



"Oh, my good Mother Bear!" cried 
little Footsteps-Upon-the- Water. Then 
he turned to the man and said: "You 
are such a cruel man to hurt my good 
Mother Bear!" 

The man rushed to him and cried: 
"My little lost boy! My little lost 
boy!" For it was Footsteps-Upon-the- 
Water's own father. He took him in 
his arms, but the child wept bitterly 
for his good Mother Bear. 

" Why," said the father, "good Mother 
Bear is not hurt. See the arrow has 
stuck fast in the bag of chestnuts, and 
Mother Bear is just as she has always 
been." 

So Mother Bear jumped up and said: 
"No, little Footsteps-Upon-the- Water, 
the chestnuts have saved my life. I am 
not hurt at all." 

"0 father," said the little boy, "I 
chased a squirrel with big black eyes, 
and when he ran in a hollow log, I ran 
in too, and I could not get out. I stayed 
there for days and at last Grandmother 
Porcupine and her three grandsons 
scratched me out, and Mother Bear 
took me home with her to live, and 
she has been so good to me." 

"Good Mother Bear," said the grate- 
ful father, " I cannot tell you how thank- 
ful I am my boy fell into such good 
hands. I want you and all your chil- 
dren to come to the wigwam for a visit." 



Then they all kissed little Footsteps- 
Upon-the- Water good-by and he went 
home with his father, but he never for- 
got how good old Mother Bear had been 
to him. 

Suggestions for the Dramatization 

Fourteen children are required for the 
dramatization of this story. 

A sheet or a long coat thrown over 
three chairs will serve as a wigwam. 
The chairs should be placed rather close 
together, with a large space between 
the first and third to serve as the door 
of the wigwam. The Indian mother 
is seated at the door weaving a basket, 
and little Footsteps-Upon-the- Water is 
shooting his arrows in the edge of the 
wood close by. The boys will be glad 
to make a bow and also some arrows for 
use in the dramatization of this story. 

A small child who can run quietly 
as well as rapidly should be selected 
for the squirrel. Little Footsteps-Upon- 
the- Water should also be fleet of foot. 

The squirrel scampers around in the 
bushes, which are represented by chairs, 
quite a while before the little Indian 
boy sees him. When he does, he be- 
comes interested immediately, and when 
the squirrel starts to run he begins a 
lively chase. 

The squirrel runs in the opposite 
direction from the wigwam, in and out. 



LANGUAGE AND OCCUPATION WORK 



45 



among the desks, which represent trees, 
until at last he discovers a hollow log. 
Several chairs turned seat downward 
can represent this. He runs in the 
hollow log and out again at the other 
end. But little Footsteps-Upon-the- 
Water is less fortunate and is caught 
in the log. He screams for help and 
pounds as hard as he can, but soon 
gives up in despair and sobs himself to 
sleep. 

While he sleeps in the hollow log our 
attention is called to the Indian mother 
in the wigwam. During the time these 
events have been taking place in the 
woods she has finished her basket. 
She inspects it and decides that it will 
please the boy when he sees it, with its 
red and blue figures. She places it 
on the table (a chair seat) inside the 
wigwam and busies herself with the 
supper, singing as she works. 

She is just ready to take the steaming 
meat from the stove (another chair 
seat) when the father arrives. He car- 
ries a number of bags over his shoulder, 
for he has had a successful hunt. The 
book satchels belonging to the pupils 
in the room can be used here. 

When the father decides to go and 
search for his son, he shoulders his gun 
(a pointer) and starts out. He does 
not enter the story again until he ap- 
pears at the bear's house, so it is well 



for him to enter the woods by the 
cloak-room door and remain out of 
sight until he is again needed. 

The mother enters the wigwam and 
weeps bitterly, and does not enter the 
story again. 

All the time this is going on at the 
wigwam little Footsteps - Upon - the - 
Water is sleeping quietly in the log. 
But now he wakes up and realizes with 
added force that he is in a helpless 
condition. He begins to pound and 
scream again. After awhile he hears 
a queer rap, tap, rap, tap, outside. 

At first he is afraid and lies down 
quietly in the log. But when he hears 
the second call he recognizes Grand- 
mother Porcupine and answers. 

The child who represents Grand- 
mother Porcupine should wear quills 
around her forehead. 

These can be made by taking a broad 
band of pliant cardboard and fastening 
some quills in it with the points out. 
If quills cannot be obtained, the band 
can be pricked with a darning needle 
and toothpicks can be placed in the 
holes. 

The grandsons should wear the same 
headdress. 

The hemlock tree, in which the three 
grandsons live, can be represented by a 
table under which the three grandsons 
are hidden and from which they jump 



LANGUAGE AND OCCUPATION WORK 



47 



when summoned by Grandmother 
Porcupine. 

The bear's house should be some 
distance from the hollow log and the 
children can imagine the rocks which 
form a hill before it. 

There should be a table and some 
chairs in the bear's house, also several 
coats thrown upon the floor, which 
represents the straw upon which the 
bears sleep at night. 

One boy in the room should be 
authorized to bring a forked stick from 
the woods for Mother Bear's use in 
chasing away the man. 

A book satchel filled with other 
satchels can serve for the bag of feathers, 
and these same satchels may be used 
for bags in which the chestnuts are 
kept. 

The chestnut wood is not far from 
the bear's house and it will be necessary 
to make the nuts imaginary ones. 

When the man shoots an arrow at 
Mother Bear she falls to the ground 
with fright, but is not injured. 

The departure of little Footsteps- 
Upon-the- Water from the bear's house 
makes a happy ending to our story, 
for while the bears are sorry to lose him 
they rejoice in his good fortune in 
finding his father and show it by waving 
their many good-bys to him until he 
is out of sight. 



THE DRAMATIZATION 

Major Characters 
Footsteps-Upon-the- Water 
Grandmother Porcupine 
Mother Bear 

Minor Characters 
Indian Mother 
Indian Father 
Squirrel 
Grandmother Porcupine's Three 

Grandsons 
Wolf 
Deer 

Baby Bear 
Girlie Bear 
Boy Bear 

Scene I 

(Indian Mother is sitting inside the 
door of wigwam weaving a basket. Foot- 
steps-Upon-the-Water is shooting arrows 
near by.) 

Indian Mother {looking out the door 
towards little Footsteps-Upon-the-Water) 
Well, we certainly did give him the right 
name, for he can run like the wind. I 
will hurry and finish this basket, for 
he will be pleased when he sees it with 
its red and blue figures. (Turns her 
back to the door and works very rapidly.) 

Little Footsteps-Upon-the-Water (see- 
ing a squirrel in the bushes) What is 
that gray thing there? (Comes nearer- 
to squirrel) Look at its bright eyes! 
It must be a squirrel. I must lay down 
my bow and arrow for they will frighten 



48 



LANGUAGE AND OCCUPATION WORK 



it. (Lays down the bow and arrows and 
creeps quietly towards the squirrel, talk- 
ing in a coaxing voice all the time.) 
Poor little squirrel! I wouldn't hvt 
you for anything, but I should like to 
play with you, for I have no little 
brother at home. Come, little squirrel, 
I want you for my brother. 

(Squirrel ruw away and Footsteps- 
Upon-the-Water starts in pursuit.) 

Squirrel (stopping at a hollow log) 
This is a good place to hide. I don't 
believe the little boy can get in — I'll 
try it anyway. (Squirrel runs in log.) 

Little Footsteps-Upon-the-Water (stop- 
ping at log) I believe he must be in here 
(stoops down and peeps in) Yes, indeed, 
there he is. I'll catch you now, little 
squirrel! 

(Boy crawls in log — squirrel runs out 
the other end. Boy, finding that he is 
stuck fast in the middle of the log, pounds 
and shouts for help until he is exhausted. 
Then he lies down and sobs himself to 
sleep.) 

Indian Mother (holding the finished 
basket up to view) That certainly is a 
good basket. I will put it here (rises, 
and places basket on the table). Little 
Footsteps-Upon-the-Water will see it 
when he comes in. (Goes to the door 
and looks towards the west.) My, my! 



the sun is low and the father will soon 
be coming from his hunt. I must cook 
him some supper. 

(Indian Mother takes down the meat 
and prepares it for supper, singing as she 
works. When the supper is ready to be 
taken from the stove the father comes in.) 

Indian Father (entering the wigwam 
and looking around in an inquiring way) 
Where is little Footsteps-Upon-the- 
Water? 

Indian Mother Right out in the 
woods. Shout for him and he will 
come. 

Indian Father (putting his hands to his 
mouth) Little Footsteps - Upon - the - 
Water! 

Mother That's strange that he 
doesn't answer. 

Father (going out in front of wigwam 
and calling as before) Little Footsteps- 
Upon - the - Water! Little Footsteps - 
Upon-the- Water ! 

Mother (rushing out of wigwam) Now, 
since I remember, I don't believe I 
have seen him for some time. What if 
the poor child is lost and a bear should 
get him. Oh, what shall I do? (Weeps 
bitterly.) 

Father I will go into the woods 
and search for him. I feel that I 
cannot eat or sleep until our boy is 
found. 



LANGUAGE AND OCCUPATION WORK 



49 



(Father goes inside and gets gun and 
comes-out and searches the woods. Mother 
goes back to wigwam and weeps bitterly.) 

Scene II 

Little Footsteps-Upon-the-Water (wak- 
ing from sleep and rubbing eyes) Where 
am I? Oh, yes, I remember! That 
little squirrel led me in here (tries to get 
out and fails). What shall I do? I 
shall die here. (Screams and pounds 
until a queer "rap, tap, rap, tap," is 
heard outside.) 

Grandmother Porcupine (stopping and 
looking in the end of the log) Footsteps- 
Upon-the-Water, are you there? Are 
you there? 

Footsteps-Upon-the-Water (lying down 
quietly in the log) That's a queer noise. 
I guess I won't answer, for life in this 
old black log is better than being torn 
to pieces outside. 

Grandmother Porcupine Little Foot- 
steps-Upon-the-Water, are you there? 
Are you there? 

Ldttle Footsteps-Upon-the-Water (look- 
ing and seeing Grandmother Porcupine) 
Yes, I'm here. Help me out. I am 
stuck fast in this log. 

Grandmother Porcupine I heard you 
call and traveled three days and three 
nights to help you. 

(Grandmother Porcupine scratches and 



scratches, but does not succeed in making 
the hole large enough. 

Grandmother Porcupine I'm afraid 
I'm not quite strong enough to scratch 
you out. 

Little Footsteps-Upon-the-Water (be- 
ginning to cry) Oh, Grandmother Por- 
cupine, please help me out! I can't 
stay here. 

Grandmother Porcupine Never mind. 
I will run and get my three grandsons. 
They live up in the old hemlock tree 
just a little distance from here. 

(Grandmother Porcupine runs rapidly 
towards the hemlock tree. When she 
reaches it she knocks loudly.) 

Grandmother Porcupine They must 
all be asleep. (Calls loudly) Wake up, 
you sleepy heads! Wake up! 

Grandsons Who's there? 

Grandmother Porcupine It's your 
grandmother. There is a little boy 
caught in a log up here. I want you 
to come and help me get him out. 

Grandsons (jumping from hole in tree) 
All right! 

(Grandmother Porcupine and the three 
grandsons bound away over the dry leaves.) 

Grandmother Porcupine (stopping at 
log) This is the log. 

Grandsons (beginning work) Oh, we'll 
have him out in a few minutes. 



60 



LANGUAGE AND OCCUPATION WORK 



Bear {coming up to the log) What's 
the matter? Why all this scratching? 

Grandmother Porcupine There's a 
little boy stuck fast in this log and we 
want to get him out. 

Wolf {coming up to log) What have 
you found good to eat? 

Grandmother Porcupine {angrily) You 
greedy thing! It isn't anjrthing to eat. 
It's a little boy stuck fast in the 
log. 

Deer {coming up to log) What's the 
trouble? 

Grandmother Porcupine There's a 
little boy stuck fast in the log and we're 
trying to scratch him out. 

{The Bear, Wolf and Deer all take a seat 
near the log. The grandsons continue 
to scratch until the hole is made large 
enough for Footsteps-Upon-the-Water to 
crawl out.) 

Little Footsteps - Upon - the - Water 
{scrambling to his feet and clapping his 
hands) Oh, how good to be out again! 
{Hides his face on Grandmother Porcu- 
pine's shoulder) I can hardly see. The 
sun is so bright. {Peeps out just a 
little at a time until he becomes accus- 
tomed to the light.) It was so good of 
you to work so hard to get me out. 

Grandmother Porcupine {turning to the 
Bear, the Wolf, and the Deer) Now this 
little boy needs a mother. I am too old 



to take care of him. Who will be his 
mother? 

Deer I will be his mother. 

Grandmother Porcupine The idea! 
That would never do! Why, you are 
always going from place to place and the 
little boy would have no home in winter. 
No, no, you couldn't be his mother. 

Wolf What kind of a mother do you 
think I would make? 

Grandmother Porcupine A bad 
enough one. Your teeth are too sharp. 
You would never do. 

Bear I will be his mother. I have 
a warm home in the rocks and I always 
have plenty to eat. Why, this very 
night I have berries and nuts enough to 
feed a dozen boys. 

Grandmother Porcupine Well, you 
shall have little Footsteps-Upon-the- 
Water, but you must not let your cubs 
teach him any rough tricks. 

{Bear takes the little boy by the hand.) 

Grandmother Porcupine {patting Foot- 
steps-Upon-the-Water on his head) Now 
go home with good Mother Bear and I 
will come to see you some day. 

Footsteps - Upon - the - Water {kissing 
Grandmother Porcupine) Good-by, 
Grandmother Porcupine. 

{Mother Bear and Footsteps-Upon-the- 
Water go on down the road. Little Foot- 
steps Upon-the-Water waves his hand and 



LANGUAGE AND OCCUPATIUN WORK 



51 



shouts "good-by" until they are out of 
sight.) 

Little Footsteps-Upon-the-Water Where 
do you live, Mother Bear? 

Mother Bear Over in the rocks on 
that high hill. 

Ldttle Footsteps-Upon-the-Water I'm 
so hungry! Mother Bear, will you give 
me something good to eat? 

Mother Bear Yes, you shall have 
some honey and nice ripe berries. 

Ldttle Footsteps-Upon-the-Water {clap- 
ping his hands) Oh, that will be good ! 

Mother Bear This is my house. Do 
not fall over the rocks. (Three cubs 
come out and rush towards Mother Bear.) 

Mother Bear (putting her hand on 
Baby's head) Little Footsteps-Upon- 
the-Water, this is Baby Bear. He is 
very dear and sweet. You will like him, 
I am sure. {Draws Girlie Bear near.) 
This is Girlie Bear (points out Boy Bear), 
and this is Boy Bear. They will all 
love you and you must never quarrel 
with each other. Do you understand? 

Little-Footsteps- Upon-the-Water Yes, 
I understand. 

Mother Bear (leading the way into the 
house) Now come in and we will have 
supper. 

(All the children take their places around 
the table and Mother Bear gives them their 
supper.) 



Baby Bear I want some honey. 

Girlie Bear I want some milk on my 
berries. 

Boy Bear I want some bread. 

Footsteps - Upon - the - Water I'm so 
hungry I want some of everything. 

Mother Bear No, children, you have 
had enough for to-night. We will go 
to bed and in the morning you may 
have all you want. 

{Mother Bear puts children to bed and 
then lies down and sleeps all night.) 

Scene III 

Mother Bear (getting out of bed) Boy 
Bear! Girlie Bear! Baby Bear! Little 
Footsteps-Upon-the-Water! Get up! 
It is such a nice bright morning we must 
go out for some chestnuts. 

(Children all scramble out of bed.) 

Girlie Bear Oh, I do love to hunt 
chestnuts! 

Boy Bear I'm going to shake the 
trees. 

Baby Bear I'll carry my little bag. 

Footsteps -Upon -the- Water (hugging 
Baby Bear) When it's full I'll carry it 
for you. 

Mother Bear Come, children, break- 
fast is ready. 

(Children sit down to the table and eat 
rapidly.) 



LANGUAGE AND OCCUPATION WORK 



Mother Bear Now go out and play 
until I get the house straight; but be 
careful, and if you see a man with a 
bow and arrow you must run to me. 

Children All right, Mother. 

{Children run outdoors and start a 
game of tag.) 

Boy Bear Who is that coming over 
the rocks? 

Girlie Bear It's a man with a bow 
and arrow. 

Footsteps-Upon-the-Water Let's run 
to Mother Bear. 

{Children all run into house.) 

Children Mother, there's a man 
with a bow and arrow out there! 

Mother Bear {picking up a forked stick) 
I'll chase him away. {Mother Bear runs 
out and chases the man away.) 

Mother Bear {returning to house) 
Now, children, we are ready to go for 
chestnuts. {Gives each child a bag.) 
Here is your bag. Baby Bear. And 
here are yours. Girlie Bear and Boy Bear. 
Little Footsteps-Upon-the-Water, you 
may take this one. 

{They start down the rocky hill and see 
the man coming again.) 

Mother Bear Children, there's that 
man coming back again. You hide 
behind these big rocks until I go back 



to the house and get that bag of feathers. 
That will settle him. 

{Mother Bear hides children behind the 
rocks and returns to the house for feathers. 
Picks up feathers and creeps toivard man 
hiding behind the rocks all the time. When 
she reaches the man she throws the feathers 
at his head. The bag bursts and man 
fights desperately for his breath, then 
turns and runs.) 

Mother Bear {coming up to rocks ivhere 
children are hidden) Nov;, children, 
come on. I am sure the man has gone 
for good. He will never return again, 
for he doesn't want another dose of 
feathers. 

{Children come out from behind the 
rocks and dance gleefully after the mother 
until they reach the chestnut woods.) 

Boy Bear Here's a fine tree. I'll 
climb it and shake them down. 

{Boy Bear climbs tree.) 

Girlie Bear {picking up nuts) I be- 
lieve I can fill my bag right here. 

Mother Bear You need not trouble 
to pick them out of the burrs. We'll 
pick them out when we get home. 

Baby Bear Then we can make bas- 
kets from the burrs. 

{All work very rapidly and JiU their 
bags.) 



LANGUAGE AND OCCUPATION WORK 



53 



Mother Bear Now come down, Boy 
Bear, I have filled your bag. It is get- 
ting late, so we must go home. 

{Boy Bear climbs down tree. All 
shoulder their hags amd trudge home.) 

Mother Bear Little Footsteps-Upon- 
the- Water, take hold of Baby Bear's 
hand. He is so tired! 

Footsteps - Upon - the - Water {taking 
Baby Bear's hand) Never mind, Baby 
Bear, we shall soon be home. 

Baby Bear (beginning to cry) I'm so 
tired! I can't walk any farther! 

Footsteps - Upon - the - Water {stooping 
down) Get on my back, and I will play 
I am a big horse. 

Mother Bear I think the bed will feel 
good to all of us. 

{Man jumps out from behind the rocks. 
Mother Bear throws her small bag of chest- 
nuts at him, hut she misses him. He 
shoots an arrow, which hits the bag of 
chestnuts on Mother Bear's back — Mother 
Bear falls to the ground.) 

Footsteps - Upon - the - Water {putting 
Baby Bear on the ground and running 
to Mother Bear) Oh, my good Mother 
Bear! {Turning to Man) You are such 
a cruel man to hurt my good Mother 
Bear! 

Man {throwing down how and taking 



the boy in his arms) My little lost boy! 
My little lost boy! 

{Little Footsteps-Upon-the-Water weeps 
bitterly.) 

Man Why, good Mother Bear is not 
dead. See, the arrow has stuck fast 
in the bag of chestnuts {picks arrow out 
of bag) and Mother Bear is just as she 
has always been. 

Mother Bear {jumping up) No, little 
Footsteps-Upon-the-Water, I am not 
dead. The chestnuts have saved my 
life. I am not hurt at all. 

Footsteps-Upon-the-Water {clinging to 
father's neck) father, I chased a 
squirrel with big black eyes and when 
he ran in a hollow log I ran in, too, and 
I couldn't get out. I stayed there 
for days, and at last. Grandmother 
Porcupine and her three grandsons 
scratched me out and Mother Bear 
took me home with her and she has 
been so good to me. 

Man {taking Mother Bear's hand) 
Oh, I cannot tell you how thankful T 
am that my boy fell into such good 
hands! I want you and all your chil- 
dren to come to the wigwam for a 
visit, for I must take my boy home with 
me. 

Mother Bear {kissing Footsteps-Upon- 
the-Water) 1 hate to have him go, but 
I know his mother must want him. 



54 



LANGUAGE AND OCCUPATION WORK 



Come, Baby Bear, Girlie Bear, and Boy 
Bear, kiss little Footsteps-Upon-the- 
Water good-by. 

{Cubs come and kiss Footsteps-Upon- 
the-Water and tell him good-by — Father 
and hoy leave bears' house.) 

Little Footsteps-Upon-the-Water {look- 
ing back and waving his hand) I shall 
never forget how good Mother Bear has 
been to me. 

SAND-TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 

Children enjoy demonstrating the 
whole of a story on the sand-table, and 
when the table is large enough and the 
story such that it can be demonstrated 
in sections, it is well to encourage them 
to do this. 

There are three distinct scenes in 
this story: the Indian wigwam and 
surroundings; the scene in the woods 
which centers around the hollow log, 
and the scene at the bears' home. 

The right side of the table can be used 
for the Indian home. Here we have a 
wigwam, which can be cut from gray 
bogus paper and laced with raffia. At 
the door of the wigwam we find the 
Indian mother seated. She is working 
on a basket. To the side of the wig- 



wam are some trees (sprigs of evergreen 
bushes). In these woods we find little 
Footsteps-Upon-the-Water enjoying his 
bow and arrow. He can be cut from 
paper in a kneeling position as if ready 
to shoot his arrows. 

A little lake made of a new piece of 
tin, the edges of which are embedded 
in the sand, completes the first scene. 
A small canoe made from bogus paper 
and laced with raffia will add to this 
picture of Indian life if placed on the 
lake. 

The second scene should be placed 
in the center of the table. The hollow 
log should be made from dark gray 
paper, the ends of which are cut in un- 
even wave lines to represent an irregu- 
larly decayed opening. This log should 
be about twelve inches long. 

Sprigs of boxwood should also be 
placed around this to represent a forest, 
but a cleared space should be left in 
front of the log for the wolf, the bear, 
the deer. Grandmother Porcupine and 
her grandsons. We find little Footsteps- 
Upon-the-Water in a crawling position 
just coming out of the log. 

The Indian boy and all the animals 
should be cut from paper. 

The bears' house should occupy the 
left-hand side of the table. Use as a 
form for this a sheet of heavy cardboard 
16" wide and 10" long. Form in shape 



LANGUAGE AND OCCUPATION WORK 



55 



as given in the pattern and when this is 
set on the sand-table in tent fashion 
cover the sides and the top with soft 
clay. In this clay place small stones 
so they will give the appearance of a 
stone cave. Over these some green 
waxola should be sprinkled to give the 
appearance of a moss-grown surface. 
The opening at the back of the cave 
can be covered by a piece of cardboard 



which, if cut by the pattern given, 
will fit into the opening. 

Just entering the cave we find the 
old Mother Bear, while to one side, 
playing on the sandy ground, are Boy 
Bear, Girlie Bear, and Baby Bear. 

If green waxola is plentifully sprinkled 
over the sand near the wigwam and the 
hollow log, a good substitute for grass 
will be obtained. 



I— I 
Eh 

oi 

W 
< 





THK LITTLE RED HFN 




IHE GOATS IN THE TUItNir KIKI.l 




SWEKT KICE Plil;im>GE 



THE GOATS IN THE TURNIP FIELD 



THE STORY 

There was once a little boy who lived 
with an old farmer. He was all alone 
in the world. His father and mother 
were dead and the farmer with whom 
he made his home was not always kind 
to him. 

Every morning the little boy had to 
take the goats to pasture and watch them 
all day, for next to the pasture was a 
large turnip field and the farmer was 
very fond of turnips. So every morn- 
ing when he drove the goats away the 
farmer would say : " Now see that those 
goats don't get in my turnip field, for 
if they do, you'll have to suffer for it." 

One day some one gave the little boy 
a beautiful picture book. It was filled 
with large colored pictures and he did 
not have time to see all of them before 
he left for the pasture. So he tucked 
the book in his blouse and said to him- 
self: " When I am all alone in the field I 
will take it out and see all the beautiful 
pictures." 

It took him such a long while to reach 
the pasture that morning. It seemed 
that he would never get there. When 
he did, he led the goats to a nice green 



spot and sat down under a large oak 
tree to read his book. There were 
wonderful pictures in it; horses, cows, 
sheep and every animal you could name. 
He was so interested that he forgot all 
about the goats, and when he looked 
up he was much surprised to find that 
they were in the turnip field, nibbling 
away at the green tops. 

He threw down his book and ran into 
the field as fast as he could. Round and 
round he went, but every time the 
goats would dodge him, and he could 
not make them come through the gate. 

"Oh dear! Oh dear!" he cried; 
"what shall I do? When I go home to- 
night, the farmer will be so angry!" 
And he cried and cried as if his little 
heart would break. 

A tiny rabbit came near, and when 
she saw how the little boy was crying, 
she said: "Why are you crying, little 
boy?" 

"Oh," said he, "I'm crying because 
my goats are in the turnip field and I 
can't get them out!" 

"Why," said the rabbit, "that's a 
little thing to cry over. I'll get them 
out for you." So round and round the 

57 



58 



LANGUAGE AND OCCUPATION WORK 



turnip field he went. Round and round 
the goats went, too, but they always 
passed the gate. At last the rabbit 
came back, very tired and very warm. 

"I've chased your goats," he said, 
"until I am nearly dead, but I can't get 
them out. I'm just so tired that I'll 
cry, too." 

So the little boy and the rabbit sat 
under the tree and cried. 

By and by a fox came up to them. 
"Why are you crying, little rabbit?" 
said the fox. 

"Oh," sobbed the rabbit, "I'm crying 
because the little boy is crying, and he 
is crying, because his goats are in the 
turnip field and he can't get them out!" 

"Well, well, what babies you are! 
I'll get them out for you." 

So the fox ran into the turnip field 
and chased the goats from side to side, 
up and down the field, but they would 
not go through the gate. So at last 
he came back mopping his head with his 
handkerchief, and saying: "Those are 
the worst goats I have ever seen. I've 
chased them up and down, back and 
forth, but they won't leave the field. 
I know that old farmer, and I know just 
what he'll do when you go home. Oh, 
I feel so bad ! I can't help but cry, too ! " 

So the little boy and the rabbit and 
the fox sat under the tree and cried. 

Soon a wolf came by and when he 



heard them weeping he came nearer. 
"Why,, my good friends," said he, 
"don't cry so! You will drown every- 
one with your tears. Indeed, Mr. Fox, 
this is very silly. Why are you crying? " 

"Oh," said the fox, raising his head 
and wiping his eyes, " I'm crying because 
the rabbit is crying, the rabbit is crying 
because the little boy is crying, and the 
little boy is crjdng because his goats 
are in the turnip field and he can't get 
them out." 

"Ha! Ha! laughed the wolf. 
"What a little thing to cry about! In 
two minutes I'll have every goat out 
of that turnip field. Watch me!" 

So they all stopped crying and watched 
the wolf. He went into the turnip 
field with his head held high, but the 
goats wouldn't let him come near them. 
They ran and ran and the wolf ran and 
ran, but as soon as they came near the 
gate they turned and ran back again. 
At last the wolf gave up in despair for 
he had hurt his foot on a stone and 
could scarcely walk. He came limping 
back and sat down without saying 
a single word, but just put his head 
in his hands and began to cry. 

So the little boy, the rabbit, the fox 
and the wolf sat under the tree and 
cried. 

Soon they heard such a queer sound. 
It went "Buzz, buzz, buzz!" At first 



LANGUAGE AND OCCUPATION WORK 



59 



it sounded as if it were over their heads. 
Then it sounded as if it were under 
their feet. They all looked up, but they 
could not see anything. Then a little 
bee flew down before them and said: 
"Why are you crying, Mr. Wolf?" 

And the wolf said: "I'm crying be- 
cause the fox is crying, and the fox is 
crying because the rabbit is crying, and 
the rabbit is crying because the little 
boy is crying, and the little boy is crying 
because his goats are in the turnip field 
and he can't get them out." 

" Let me try to get them out for you," 
said the bee. 

The little boy looked at the bee, then 
at the rabbit, then at the fox, and then 
at the wolf. "Why, we've all tried 
and we can't get them out, and now 
you mean to say you can do it. Ha! 
Ha!" 

Then the rabbit, the fox and the 
wolf laughed until they forgot to cry. 
But the little bee said, "I know I am 
Httle, but I can try." 

"Well," said the little boy, "trying 
can't do any harm. Go on and try." 

So the bee flew over the fence into the 
turnip field. She flew to the largest 
goat first and lighting quietly on his 
back began to sting him. The goat 
lifted his head and ran as fast as he 
could towards the gate. She kept on 
without one bit of noise until the turnip 



field was empty. Then she flew quietly 
to the little boy, the rabbit, the fox, 
and the wolf, who were waiting outside. 

" Oh," said the little boy, " I can never 
thank you enough!" 

" I never saw anything done so well," 
said the rabbit. 

"No," said the fox, "nor so quickly 
neither." 

"I'm sorry I laughed," said the wolf, 
"but you looked so Httle." 

"Now here is something for you to 
remember," said the bee, as she flew 
away. "Sometimes little people can 
do more than large ones. Remember, 
too, that all the crying in the world will 
not make goats come out of a turnip 
field." 

So the little boy, the rabbit, the fox 
and the wolf sat under the tree and 
laughed, while the goats fed peacefully 
on the green grass near by. 

Suggestions for the Dramatization 

It is always well in dramatizing a 
story to select one in which all the 
pupils in the room can take part. 

Those best suited for the major 
characters should be selected first, the 
farmer should be next considered, and 
all the pupils not otherwise provided 
for can be included in the number who 
represent the goats. 



LANGUAGE AND OCCUPATION WORK 



61-. 



Reserve a small portion of the room 
for the farm. The barn in which the 
goats are housed can be behind the 
teacher's desk. 

The farmer comes up to the little 
boy in a blustering manner and demands 
that the goats be taken immediately 
to the pasture. 

As much as three-fourths of the room 
should be devoted to the pasture and to 
the turnip field. A row of desks or a 
row of chairs can represent the fence 
which divides the two, and the space 
between two desks or between two 
chairs, as the case may be, may be used 
for the gate through which the goats 
refuse to pass. 

The children who take the parts of 
the boy, the rabbit, the fox, and the 
wolf should make believe that they are 
crying aloud. 

When the bee comes on the scene he 
hides behind a bush (a chair) and 
buzzes for a while, which attracts the 
aittention of the others. One thinks 
the sound comes from above, another 
thinks it comes from the ground, but the 
bee soon decides the question by flying 
down and asking the wolf the question: 
"Why are you crying, Mr. WoK?" 

The children will natiu^ally think of 
their own original words of ridicule when 
the bee suggests the possibility of being 
of service. Let them use these ex- 



pressions; it will add originality and 
spice to the play. 

The bee goes into the turnip field 
without the last noise, and without 
being observed by the goats, creeps up 
behind them. Then the child who is 
impersonating the bee pinches the first 
goat very gently and with much kicking 
the goat runs through the gate. Each 
goat receives the same treatment and 
at last all are on the other side of the 
fence. Then the bee delivers his little 
sermon to the boy, the rabbit, the fox, 
and the wolf, and flies away (raises his 
hands to represent wings and trips lightly 
away). 

Those who remain laugh heartily 
at their mistake and the boy admits that . 
the bee is very clever. 

THE DRAMATIZATION 

Major Characters, 
Little Boy 
Rabbit 
Fox 
Wolf 
Bee 

Minor Characters 
Farmer 
Goats (any number desired) 

{The little boy is sitting on the ground' 
looking at a book. Goats fastened in the 
barn near by.) 

Farmer (coming near) It!s,time these:- 



ii2 



LANGUAGE AND OCCUPATION WORK 



goats were in the pasture. Get up, 
you lazy boy, and take them! And 
be sure and see that they don't get in my 
turnip field; for if they do, you'll have 
to suffer for it! 

{Boy puts book in his hhuse and quietly 
drives the goats from the barn towards 
the pasture.) 

Boy {feeling to see if his book is safe) 
When I am all alone in the field I will 
take it out and see all the beautiful 
pictures. {Runs after a goat which has 
strayed to one side; drives it back to the 
rest of the flock.) It seems to me that 
I am a long time getting to the pasture 
this morning, but we're coming in sight 
now. Here we are now. And here is 
some nice green grass for the goats {sits 
down under an oak tree). I will look at 
my book now while the goats eat. 

{The goats scatter about and begin to 
eat the grass.) 

Boy {engrossed in book and talking to 
himself) These certainly are wonder- 
ful pictures in this book. Here's a 
horse! {Turns leaf.) And here are 
some sheep! I do believe there is 
every animal I could name. 

{Boy looks up and discovers that the 
goats are in the turnip field.) 

Boy {throwing down book and running 
towards the goats) Those goats are in 



the turnip field. I must get them out 
or I'll suffer when I get home. 

{Boy runs round and round after the 
goats. Goats run wildly from side to 
side of the field, but pass the gate each 
time.) 

Boy {leaving the turnip field and wring- 
ing his hands) Oh, dear! Oh, dear! 
What shall I do? When I go home 
to-night the farmer will be so angry ! 

{Boy sits down under a tree and cries. 
A little rabbit comes quietly up to him.) 

Rabbit Why are you crying, little 
boy? 

Boy Oh, I am crying because my 
goats are in the turnip field and I can't 
get them out! 

Rabbit Why, that is a little thing to 
cry over. I'll get them out for you. 

{Rabbit goes into turnip field and chases 
the goats around and round, but finally 
gives up in despair and comes back to the 
little boy.) 

Rabbit {wiping his face with a handker- 
chief) I've chased your goats until I 
am nearly dead, but I can't get them 
out. I am just so tired that I'll cry, 
too. 

{Rabbit sits down by the boy and cries.) 

Fox {coyning close to little boy and 



LANGUAGE AND OCCUPATION WORK 



63 



rabbit) Why are you crying, little 
rabbit? 

Rabbit I'm crying because the boy 
is crying, and the boy is crying because 
his goats are in the turnip field, and he 
can't get them out. 

Fox Well, well, what babies you are! 
I'll get them out for you. 

{Fox runs into turnip field, chases the 
goats from side to side, up and down the 
field, but finally gives up and comes back 
to the little boy and the rabbit.) 

Fox (panting for breath) Those are 
the worst goats I have ever seen. I've 
chased them up and down, back and 
forth, but they won't leave the field. 
I know that old farmer and I know just 
what he'll do when you get home. Oh, 
I feel so sorry, I can't help crying, too! 

{Fox sits down beside the little boy and 
the rabbit and begins to cry.) 

Wolf {coming close to the little boy, the 
rabbit and the fox.) Why, my good 
friends, don't cry so! You will drown 
everybody with your tears. {Turns to 
fox.) Indeed, Mr. Fox, this is very 
silly! Why are you crying? 

Fox {raising his head and wiping eyes) 
Oh, I'm crying because the rabbit is 
crying, and the rabbit is crying because 
the little boy is crying, and the little 
boy is crying because his goats are in 



the turnip field and he can't get them 
out. 

Wolf {laughing heartily) What a little 
thing to cry about! In two minutes 
I'll have every goat out of that turnip 
field. Watch me! 

{Wolf runs into the turnip field and 
chases goats. The little boy, the rabbit, 
and the fox all stop crying and watch the 
wolf, who soon stumps his toe on a rock 
and gives up the chase. He returns and 
takes his place beside the fox. All begin 
to cry.) 

Bee {hiding in bush) Buzz! Buzz! 
Buzz! 

Boy {looking up) What is that noise? 
It sounds as if it were over our heads. 

Rabbit {looking on ground) It sounds 
as if it were on the ground. {All look 
eagerly around.) 

Bee {flying down in front of wolf) 
Why are you crying, Mr. Wolf? 

Wolf I'm crying because the fox is 
crying, and the fox is crying because 
the rabbit is crying, and the rabbit is 
crying because the little boy is crying, 
and the little boy is crying because his 
goats are in the turnip field and he can't 
get them out. 

Bee Let me try to get them out for 
you. 

Boy {looking first at the rabbit, then 
at the fox, then at the wolf and then at the 



o 



Pi 




LANGUAGE AND OCCUPATION WORK 



65 



hee) Why, we've all tried and we can't 
get them out, and now you mean to say 
you can do it? 

{All laugh heartily at the bee.) 

Bee I know I am little, but I can try. 
Boy Well, trying can't do any harm. 
Go on and try. 

{Bee flies over the fence and stings each 
goat in turn. Goats run wildly towards 
the gate and out of the turnip field into 
the pasture where they begin to eat grass. 
Bee follows them and takes his place in 
front of the little boy.) 

Boy Oh, I can never thank you 
enough! 

Rabbit I never saw anything done 
so well. 

Fox No, or so quickly, either. 

Wolf I'm sorry I laughed, but you 
looked so little. 

Bee Now here is something for you 
to remember. Sometimes little people 
can do more than large ones. Remem- 
ber, too, that all the crying in the world 
will not make goats come out of a 
turnip field. 

{Bees flies away and little boy, rabbit, 
fox, and wolf laugh heartily.) 

Boy That was a clever little bee. 



SAND-TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 

This story can be very easily and 
simply told on the sand-table. 

There are two scenes which lend 
themselves readily to demonstration. 
The first centers about the barnyard. 
It will be necessary to construct a 
small bam from paper; also a pig-pen, 
a well, and a pigeon-house near the 
bam. There should be a pig in the 
pen and horses and cows should be 
walking about the yard. Trees, which 
are represented by sprigs of evergi-een 
shrubs, should be scattered around, and 
a woven fence made of the five-inch 
sticks which the children use in their 
number work can enclose this. 

A road should lead from this barn- 
yard to the pasture beyond. This can 
be marked off by white sand. In this 
road we find the small boy with his 
three goats on his way to the pasture. 
The goats and the boy should all be 
cut from paper. 

The next scene centers around the 
tumip field. This field is situated in 
the extreme left-hand comer of the 
table. It should be studded with tiny 
evergreen sprigs to represent turnips 
and should be enclosed by a fence made 
of five-inch sticks, driven into the sand 
in an upright position; across the top 



66 



LANGUAGE AND OCCUPATION WORK 



of these sticks are laid others in a hori- 
zontal position. An opening should be 
left for the gate. 

Outside this fence is the pasture. 
We find the boy sitting under a tree (an 
evergreen spray) crying. Beside the 
boy sits a rabbit, a fox and a wolf. All 
of these should be cut from paper so as 
to represent their part in the story. 



Just outside the gate which leads 
into the turnip field we find two goats 
with their heads held as if they had 
been suffering and inside the gate we 
see the third goat with the bee on 
his ear. 

This goat is making his way to the 
gate in the hope of escaping from the 
bee's sting. 



THE LITTLE RED HEN 



THE STORY 

There was once a little red hen. She 
was not like other hens. Oh, no! she 
was a little different. In the first place, 
she was a little red hen, and in the second 
place, she lived in a little house in the 
woods — a dear little, queer little house. 
It had a little porch on which the red 
hen sat on summer afternoons, and a 
little room in which the little red hen 
cooked her dinner, for she was not a 
common red hen — oh, no! She would 
never think of eating com and meal 
thrown upon the ground. She knew how 
to cook and she lived on the daintiest 
fare, cooked by her own hands, and that 
was why the fox who lived over the hill 
with his mother wanted to get the little 
red hen for his dinner. 

He had watched her for many days 
and every time he saw her she looked 
plumper and sweeter than before. But 
the little red hen never went far from her 
own door because she^ knew the fox was 
always hungry. 

So the fox selected a spot not far 
from the little red hen's house where 
he could see her whenever she came 
outside her door, and when she came out 



and sat on her porch he would peep 
around the tree behind which he was 
hiding and say: "Oh, she's getting nice 
and fat! When I catch her out, I'll 
have a meal, yes, I'll have a meal!" 
Then he would smack his lips and jump 
behind the tree so the little red hen 
could not see him. 

One day she went out to get some 
wood to make a fire. She forgot to 
lock the door and the fox was watching 
behind the tree. When he saw her 
come out he said: "There comes that 
little red hen. I never saw her look 
better in my life." Then he smacked 
his lips and thought how good she would 
taste. 

He could hardly believe his eyes when 
he saw that she had forgotten to lock 
her door, for the little red hen was 
always so careful. So he kept very 
still until she turned with her back 
towards the house. Then he crept in 
just as quietly and hid under the bed. > 

The little red hen was so busy himi-{ 
ming a tune as she picked up her sticks' 
that she did not hear the fox moving 
behind her, and when she had her apron 
full, she came in and locked the door. 



I— I 

H 
O 

PL, 

2 




LANGUAGE AND OCCUPATION WORK 



69 



She opened her stove and built her 
fire, and just as she struck a match to 
light it, out jumped the fox. The little 
red hen was so frightened that all 
she could say was, "Oh, me! Oh, me!" 
Then she flew up on a beam. 

The fox was very much disappointed, 
but he sat beneath the beam and said 
very low to himself: "I can't let that 
little red hen go. She is so plump and 
sweet. I must have her. I will run 
round and roimd in a ring and perhaps 
she will get dizzy and fall off." So he 
ran round and round and round and the 
little red hen began to sway from side 
to side, and at last — down she came — 
right at the feet of the fox. 

The fox grabbed her and said: 
"Now, my little red hen, you are 
mine at last and I will have what I 
have long wanted — a fine, fat hen for 
my dinner." 

So he put her into a bag and opened 
the door and ran off as fast as he could. 
But the little red hen was heavy and 
the day was very warm. The fox soon 
grew very tired and he still had one more 
hill to climb. It seemed more than he 
could do, so he said: "I cannot climb 
that high hill with this heavy load, so I 
will rest awhile in the shade of this large 
tree." He put the bag on the ground 
and lay down to rest, but before he 
knew it, he was asleep and dreaming 



of the steaming dish the little red hen 
would make. 

The little red hen lay very quietly in 
the bag until she heard the fox breathing 
very hard; then she said: "He must 
be asleep. I will try and peck a hole 
in this bag." So she pecked and pecked, 
but a hole wouldn't come. Then she 
said: "What shall I do? I can't stay 
here and be eaten by the fox. I must 
get out. I do wish I had a knife to 
cut this bag." Then she felt in her 
pocket and said: "Why, here are my 
little scissors. I left them in my pocket 
when I was sewing on the porch. I will 
cut a small hole and crawl out." 

Then she took the scissors from her 
pocket and cut a hole large enough to 
get her body through, and crept out 
very quietly. She looked carefully at 
the fox and found that he was fast 
asleep; then she laughed heartily to her- 
self, as she thought how angry he would 
be when he found that she was gone. 

Now this little red hen was very wise 
indeed, and she said to herself: "What 
if the fox should wake up soon and 
overtake me! That would never do. 
I must get a large stone and put it in the 
bag and sew up the hole. Then he will 
never know that I have run away." 

So she found a stone and, hastily 
putting it in the bag, sewed up the hole 
with a needle and thread she had left 



"5C^ 



o 
I— I 

H 
H 

O 

Oh 
Ph 





LANGUAGE AND OCCUPATION WORK 



71 



in the cushion which she always carried 
on her apron. Then she ran home as 
fast as her feet could carry her. 

By and by the fox woke up and rubbed 
his eyes, for he was still very sleepy. 
"Have I been asleep?" he said. "I 
didn't mean to sleep, I only thought I'd 
rest awhile. Why, I'll be late to 
dinner!" So he put his bag on his 
shoulder and started off. 

Now the stone was much heavier 
than the little red hen, and he hadn't 
gone far before it began to hurt his back. 

"How heavy this little red hen is!" he 
said to himself. ' ' She is fine and fat and 
I shall have a good dinner." 

As he came near his home he saw his 
mother standing at the door looking 
for him. She was shading her eyes 
with her hand, for the sun was very 
bright. 

"What have you in your bag, my 
son?" she said. 

"It's the little red hen, mother," 
said the fox, "and she's very plump and 
sweet. She is so heavy, I could hardly 
get over the hill with her. Have you 
the kettle on? I've had a hard time 
getting her and I want to cook her 
right away." 

"Yes, my son," said the mother; 
"the kettle is on." 

"Lift the lid and I will put her in," 
said the fox. 



So the mother lifted the lid and the 
fox held the bag over the kettle. At 
first the rock would not drop and he 
thought the little red hen was clinging 
to the bag with her feet, so he shook it 
very hard. Splash went the heavy 
stone into the hot water, and burned 
them both so badly that they cried 
out with the pain. 

After that, they were afraid to have 
anything to do with the little red hen, 
so she lived happily in her little house 
forever after. 

Suggestions for the Dramatization 

This is one of the few good stories for 
dramatization which requires only a 
few characters. 

The space in front of the teacher's 
desk can be selected for the porch in 
front of the little red hen's house, while 
the interior of the house will be behind 
the desk. 

The little red hen passes through an 
imaginary door when she enters the 
house. 

The tree behind which the fox hides 
should be at the other side of the room. 
A chair can be selected for the tree. 

The fox is a very sly fellow, so it is 
well to select a child to play his part who 
possesses this characteristic in some 
degree, while a very small child should 
represent the little red hen. 



72 



LANGUAGE AND OCCUPATION WORK 



Two chairs can be placed behind the 
desk to represent the bed and another 
chair can serve as a stove. 

When the fox jumps at the little red 
hen she jumps first on the bed, then on 
the beam, which is represented by 
the desk . The fox runs round and round 
and the little red hen sways from side to 
side and at last falls (jumps) from the 
beam to the floor. The fox grabs her 
and places her in a long coat which he 
brought with him, rolled under his arm 
as a bag, when he entered the room. 
This coat serves as a bag. He holds 
the top of the coat as he would the 
top of a bag and lets the lower part 
completely cover the little red hen, 
who walks close behind him under the 
coat. 

The fox walks all around the room, 
in and out among the desks, and then 
decides that he must rest, so he puts 
the little red hen down on the ground 
and falls asleep. 

The child who represents the little 
red hen sits on the floor completely 
covered by the coat. She listens and 
decides that the fox is asleep; then she 
tries to peck a hole in the bag, but 
gives up in despair. At last she finds 
her scissors and cuts the bag. (She 
works the scissors backwards and for- 
wards, as if she is cutting, and opens a 
fold of the coat — first a little way and 



then farther, until the opening is large 
enough for her to get out.) 

After she gets out, she finds a large 
stone, which she puts in the bag. Then 
she sews up the bag. She places the 
stone in the coat in such a way that the 
fox can easily gather it up as he would 
a bag. 

When the fox wakes up, he takes 
up his bag and walks on towards his 
home, which is situated at the other end 
of the room. There we find his mother 
shading her eyes with her hand and 
watching for her son. A wooden meas- 
ure can represent the kettle and any 
convenient article can serve as a lid. 
It is necessary to imagine the water and 
the splash caused by the falling rock. 

THE DRAMATIZATION 

Major Characters 
Fox 
Little Red Hen 

Minor Characters 
Mother Fox 

Fox {sitting down behind a tree) This 
is a good place for me to sit, for I can 
see the little red hen every time she 
leaves the house. {Shades his eyes with 
his hands and looks steadily towards the 
house.) Why, there she is now! {Ldttle 
Red Hen comes out and sits on the porch to 
sew.) Ah! she is getting nice and fat. 



LANGUAGE AND OCCUPATION WORK 



73 



ring and perhaps she will get dizzy and 
fall off. 

(Fox runs round and round. The 
Little Red Hen sways from side to side 
and at last falls down at the feet of the 

Fox.) 

Fox {grabbing Little Red Hen and put- 
ting her in the bag) Now, my Little 
Red Hen, you are mine at last, and I 
will have what I have long wanted — 
a fine fat hen for my dinner. 

(Fox throws the bag over his shoulder 
and opens the door arid goes down the 
road. He walks rapidly at first, but 
soon grows tired and walks more slowly 
and finally stops at the foot of the hill.) 

Fox I cannot climb that hill with 
this heavy load, so I will rest awhile 
in the shade of this tree. 

(Fox puts the bag on the ground and 
lies down under the tree. After awhile 
he falls asleep.) 

Little Red Hen I wonder if he can be 
asleep now. Yes, I think he is, for he 
is breathing very hard. I will try 
to peck a hole in this bag (pecks at bag 
and after repeated attempts gives up in 
despair.) I can't peck a hole in it. It 
is too tough. What shall I do? I can't 



When I catch her out I'll have a nice 
meal. (Smacks his lips.) Yes, I'll have 
a nice meal. 

Little Red Hen (rising from her seat) 
I must go out and get some chips to 
build a fire. The heat makes me feel 
quite weak. I think I shall have some 
tea for supper. (Puts thimble and scis- 
sors in her pocket and needle and thread 
in the cushion which is pinned to her 
skirt, and goes to the chip pile, humming 
a tune) . 

(Fox peeps from behind the tree when 
the little Red Hen's back is turned. Then 
he creeps out very quietly, runs into the 
house and crawls under the bed. The 
Little Red Hen fills her apron with chips, 
returns to the house and makes the fire. 
Just as she is ready to light it, out jumps 
the Fox.) 

Fox I've wanted you for a long time 
and now I've got you. (Grabs at Little 
Red Hen.) 

Little Red Hen (dodging the Fox) Oh, 
me! Oh, me! 

(Little Red Hen flies up on a beam. 
The Fox sits down below and looks up 
wistfully.) 

Fox (to himself) I can't let that Little 
Red Hen go. She is so plump and 
sweet. I must have her. (Smacks his 
lips.) I will run round and round in a 



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75 



stay here and be eaten by the Fox. I 
must get out. I do wish I had a knife 
to cut this bag. (Feels in her pocket 
and finds scissors.) Why, here are my 
little scissors. I left them in my pocket 
when I was sewing on the porch. I will 
cut a small hole and crawl out. (Takes 
scissors from her pocket and cuts a small 
hole in the bag and crawls out. Then 
she goes up to the Fox and looks at 
him closely.) Yes, he is fast asleep. 
(Laughs heartily.) How angry he will 
be when he wakes up and finds that I am 
gone. (Looks frightened.) What if he 
should wake up soon and overtake me! 
That would never do! I must get a 
large stone and put it in the bag and 
sew up the hole. Then he will never 
know. (Finds a stone behind the tree, 
puts it in the bag, and taking a needle 
and thread from the cushion at her side, 
sews up the hole.) Now he will never 
know. (Runs on towards home.) 

Fox (waking up and rubbing his eyes) 
Have I been asleep? I didn't mean to 
sleep. I only thought I'd rest awhile. 
(Jumps up.) Why, I'll be late to 
dinner. (Picks up bag, flings it over 
his shoulder and starts off, walks rapidly 
at first, and then more slowly.) How 
heavy this Little Red Hen is! She is 
fine and fat and I know I shall have a 
good dinner. (Walks on slowly. Changes 
the bag from shoulder to shoulder to 



relieve strain. Looks eagerly forward.) 
Why, there is mother waiting at the 
door! 

Mother Fox (shading her eyes with her 
hand) What have you in your bag, 
my son? 

Fox It's that Little Red Hen, 
mother, and she is very plump and 
sweet. She was so heavy I could hardly 
get over the hill with her. Have you 
the kettle on? I've had a hard time 
getting her and I want to cook her right 
away. 

Mother Yes, my son, the kettle is 
on. 

Fox Lift the lid and I will put her 
in. 

(Mother Fox lifts the lid. Fox unties 
the bag and holding it over the kettle, 
shakes vigorously.) 

Fox She doesn't want to come out. 
(Shakes harder and stone falls from the 
bag into the water. It throws the water 
over the floor and scalds the Mother Fox 
and the Fox.) 

Mother Fox (rubbing hands together) 
Oh, my hands! Oh, my hands! 

Fox (rubbing his face) I'm scalded! 
I'm scalded! 

Mother Fox That was a mean trick. 

Fox I'll never trouble that Little 
Red Hen again, she always gets ahead 
of me. 



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LANGUAGE AND OCCUPATION WORK 



SAND-TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 

In demonstrating a story on the 
sand-table, the children should be al- 
lowed to select their own scene, but a 
skillful teacher can lead them to select 
the best scene for their demonstration, 
and when possible several scenes should 
be worked in to make the complete 
story. 

When this story is placed on the sand- 
table, the left-hand side should be given 
to the little red hen's house. This 
should be a delightful little structure, 
with a porch running across the front 
and down either side. 

The house can be built of clay bricks. 
The bricks should be used while very 
moist, so they can be readily pressed 
into shape. 

A rectangular structure 8" long, 6} 2" 
wide, 6" high, can be built. On top of 
this should be placed a roof of green 
paper to represent a shingled covering. 

Across the front of the house should be 
laid two rows of dry brick and meeting 
these and running down either side of 
the house should be one row of dry 
brick. These will serve as a floor to 
the porch. 

The roof of the porch can be made 
of a flat piece of stiff cardboard cut in 
the shape given and covered with green 



paper. The porch roof is supported 
by white columns made of pieces of 
white drawing apper, 514" long, and 
rolled so as to represent columns. These 
are stuck into a base of moist clay and 
set upright on the porch floor. 

In the front of this house, doors and 
windows should be cut. 

A fence can be made of 5" sticks in 
the sand. Across the top of these 
should be laid similar sticks to represent 
a railing. 

The little red hen is seen in the yard 
by a pile of pegs. She is supposed to be 
picking up chips for her fire. 

The little red hen should be cut from 
white paper and colored a reddish 
brown. From the door of the house 
to the gate runs a white path made by 
sprinkling white sand over the surface 
of the table. On either side of the 
path the yard is well sprinkled with 
green waxola to represent grass. 

The fox is seen behind a tree which is 
just outside of the fence. He seems to 
be watching every movement of the 
little red hen. 

To the right of the house the sand 
should be sloped to represent a hill and 
on this hill is a grove of trees. 

This marks the second stage of our 
story, for under one tree we see the sack 
in which the little red hen has placed 
a large stone. The sack can be made 



LANGUAGE AND OCCUPATION WORK 



77 



of any kind of material and sewed in 
straight seams. 

Under another tree we see the fox 
just waking up from his nap. He is 
cut from paper and mounted on a 
standard, so he will stand alone. 

The hill slopes to the right hand side 
of the table where we see the modest 
little house of the fox. At the door is 
old Mother Fox looking for her son. 



The house can be constructed from 
paper and the mother fox can be cut 
from paper and mounted. 

From the little red hen's house, on 
over the hill and out past the fox's 
house, runs a road made of white sand, 
and the green waxola, which is lightly 
sprinkled over the hill and the ground 
near the fox's house, shows us that 
nature has done her work here also. 



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SWEET RICE PORRIDGE 



THE STORY 

There was once a little girl. She 
was a beautiful child, with long golden 
curls and large brown eyes, but she was 
very, very poor. She was so poor 
that she did not have enough to eat and 
she had no little bed in which to sleep 
at night. She had to sleep on a pile 
of straw which was thrown in one 
corner of the room. 

Now things went very well in the 
little house under the hill, where the 
little girl lived, until one day the mother 
was taken sick and then, of course, she 
could not work any more. There was 
nothing in the cupboard to eat, except 
one slice of stale bread, and there was 
no tea in the the cannister. 

But the little girl did not fret and 
cry — oh, no ^because she knew if 
she did it would worry her mother and 
she would get worse. When her mother 
would cry because they were so poor, 
she would say: "Never mind, mother 
dear. Some day I shall be a rich lady 
and you shall have all you want. ' ' Then 
she thought of the. slice of bread in the 
cupboard and she brought it out and 
soaked it in water and gave it to her 



mother. "Now, mother dear, eat this," 
she said, "and you will get stronger." 
So the mother ate it and told her that 
she was a good little girl and a great 
comfort to her mother. 

Then she sat down by her mother 
and sang to her, and when she had 
finished singing, a happy thought came 
to her, and she said: "Mother, I can 
work if I am small. The fields are full 
of nice ripe berries. I will go out and 
pick some and sell them to the man who 
keeps the store at the comer and with 
the money I can buy fresh bread and 
milk for you and we need not be hungry 
any more." 

Then the mother patted her on the 
head, and said: "You are a dear little 
comfort, but, my child, be very care- 
ful when you go out in the field, for 
there are often snakes among the 
bushes." 

So the little girl picked up an empty 
pail and went out into the woods- 
There she found plenty of ripe berries.! 
She picked and picked until her bucket 
was almost full. How good they looked!' 
They were so nice and ripe and juicy, 
but as hungry as she was she did not 

79 



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LANGUAGE AND OCCUPATION WORK 



taste a single one. "For," she said, 
"if I eat them I shall not have enough 
to sell to the old man at the corner." 

Now there lived in the woods back 
of the field an old fairy mother. She 
was a good friend of little children. 
It was her work to look after all little 
children who were poor and needed 
things and it was also her work to see 
that they got just what they needed. 
But she never tried to find little chil- 
dren who were selfish, and she always 
helped them so that it seemed they were 
helping themselves, for she always gave 
them a task to perform before they could 
have what they needed. 

Now when this old fairy mother saw 
the little thin face and the wistful look 
in the large brown eyes, she knew that 
she had found a child who needed help. 
So she watched her closely and saw 
that she did not jump about and laugh 
and sing as other children did when they 
came to the woods. She saw, too, that 
this child did not eat the smallest berry. 
As fast as she picked them she dropped 
them into her small bucket. 

So when she had seen all this she 
walked up to the little girl and said: 
"My child, what are you doing?" 
And the child answered: " I am picking 
some berries to sell to the old man who 
keeps store on the comer." 

"But," said the old woman, "didn't 



you know that this was my field and 
that these were my berries?" 

"No, I did not," said the child sadly, 
"but here are all the berries. You 
may have them all. Believe me, I did 
not intend to take what belonged to 
some one else." 

Then the old woman knew she was 
both honest and unselfish. So she drew 
from under her cloak a little earthen 
pot and said: "My child, I will take 
the berries, but I will give you some- 
thing far better in their place. Here 
is a little earthen pot; you may have 
itfor your own." 

Tears came in the little girl's eyes, 
for she knew she could neither eat nor 
sell the earthen pot, and she did so 
want to have something to take back 
to her poor sick mother. 

Now when the old woman saw the 
tears in the big, brown eyes, she said: 
"If I could give you whatever you 
wanted to eat right now, what would 
you choose?" Then the child brushed 
away her tears and said: "Sweet rice 
porridge. I would rather have some 
sweet rice porridge than anything else 
in the world!" 

"Well, then, go home and this little 
pot will cook sweet rice porridge for 
you," said the old woman. 

"But," said the child, "mother hasn't 
had any rice or any sugar for days." 



LANGUAGE AND OCCUPATION WORK 



81 



"All you have to say," said the old 
woman, as she disappeared into the 
woods, "is, 'Cook little pot,' and it will 
begin to cook the sweet rice porridge, 
and when you have had enough, say, 
'Little pot, stop,' and it will stop." 

"Thank you, dear old woman," cried 
the little maid. Then she ran home 
as fast as she could and rushed into the 
room crying: "See, mother, what a 
good old woman gave me! It is a 
wonderful little pot. All we need to say 
is, 'Little pot, cook,' and it will cook 
sweet rice porridge for us. When we 
have all we want we must say, 'Little 
pot, stop,' and it will stop cooking. 
Now, mother, we will have some right 
away. I will put the little pot on the 
hearth stone and see what it will do." 

Then she set the pot on the hearth- 
stone and the mother called out, " Little 
pot, cook," and, although her voice 
was very weak, the little pot heard and 
began to cook. Then just as the sweet 
rice porridge, reached the top the mother 
called out, "Little pot, stop," and that 
wonderful little pot stopped. 

Then the little girl ran to the cup- 
board and brought out saucers and 
spoons and she and her mother ate 
until they had eaten all the porridge. 

Now all the mother needed was some- 
thing good to eat, for she felt quite 
well and strong after she had eaten the 



sweet rice porridge, and she was able 
to go back to work again the next day. 

When the morning came she and her 
little daughter had rice porridge for 
breakfast, and the mother put the pot up 
on a high shelf and said: "Now, my 
child, be a good little girl. Take care 
of the house and do not touch the little 
pot while I am gone. When I come 
home you shall have some more of the 
porridge you like so much." 

The little girl kissed her mother and 
said: "I will be a good little girl and 
mind everything you have told me, 
mother dear." 

After the mother had gone the little 
girl swept the floor, washed the dishes, 
and put fresh flowers on the table. 
Then she sat down to sew. But by and 
by she began to get very hungry and 
she said to herself: "Dear me! I am 
so very hungry. How good some of 
that rice porridge would taste. I am 
sure I wouldn't break the little pot. 
I would be so very careful. Mother 
told me not to touch it, because she 
thought I would break it, but I am sure 
I would not. If mother knew how 
hungry I was she would be glad for 
me to have some sweet rice porridge. 
Yes, I am sure she would say: 'Yes, 
little daughter, eat all you wish.' I am 
going to get it down any way." 

So she stood upon a chair and reached 



LANGUAGE AND OCCUPATION WORK 



83 



up on the high shelf where her mother 
had put the little pot. She took it 
down and set it on the hearthstone; 
then she said : " Little pot, cook. ' ' The 
little pot heard and began to cook. 
Then the little girl took a plate and 
spoon and sat down to eat. Oh, how 
good it tasted! 

She ate and she ate until she was 
quite satisfied. Then she remembered 
the little pot, which was still cooking 
away on the hearthstone, and when she 
turned to look she found that the rice 
porridge was all running over. She 
called loudly: "That's enough! Here! 
Halt! I have enough!" But the little 
pot kept on cooking and the rice porridge 
ran over the sides and all over the 
hearthstone. 

The poor child was frightened. She 
called out as loudly as she could: 
" That's enough, little pot! Please, please 
don't cook any more!" But still it 
cooked on. She had forgotten the right 
^ords to say and the pot would not 
stop. The rice porridge poured out all 
over the room. The chairs and tables 
swam about in it. The little girl climbed 
upon a chair and wept bitterly, but it did 
no good. Still the little pot cooked on. 

Then she decided she had better run 
to the big house on the hill, where her 
mother was at work, and tell her about 
the little pot. She opened the door 



and ran out, but the rice porridge came 
running out after her. 

How the little boys and girls on the 
street laughed when they saw the great 
river of rice porridge! They came run- 
ning with spoons and began to eat it. 

But the little girl did not stop. She 
ran on up the hill and as soon as she 
saw her mother, she called out: "Oh, 
mother! I took down the little pot. 
I was so hungry and I didn't think you 
would mind! I told it to cook, but 
when I wanted it to stop, I forgot what 
to say. It won't stop cooking and the 
whole street is full of rice porridge." 

Then the mother called softly, "Little 
pot, stop." The little pot heard her 
and stopped, but the whole valley be- 
low was full of rice porridge. It came 
up to the very windows of the houses. 

When the milkmen came driving into 
town they couldn't tell what had hap- 
pened. They called out: "What is 
this, anyway? ' ' And the people shouted 
from their doors: "It's rice porridge. 
Get some shovels and dig us a path." 
So the people came out with bowls, 
which they filled, and the milkmen dug 
wide paths through the valley. 

And the little girl who had caused 
all this trouble felt very, very sorry and 
very much ashamed, and she told her 
mother she would never be disobedient 
again. And I don't think she ever will. 



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LANGUAGE AND OCCUPATION WORK 



Suggestions for the Dramatization 

All the children in the room can have 
a part in the dramatization of Sweet 
Rice Porridge, as any number desired 
can be included in the children who en- 
joy the porridge as it runs from the door 
of the house. Those not used in this 
way can be assigned parts as people of 
the village, who stand at their doors 
and notify the milkmen of the necessity 
of digging their way in. 

When the play begins the mother is 
seen lying on the bed (two chairs) and 
the little child is sitting beside her. 
A child who does not mind singing 
by herself should be selected for the 
little girl, as she makes the story more 
natural by singing as she sits by her 
mother. 

THE DRAMATIZATION 

Major Chakacters 
Mother 
Little Girl 
Old Woman 

Minor Characters 

Children (any number above 5 desired) 

Milkmen's Horses (4) 

Milkmen (2) 

People of Village (any number desired) 

(Mother is lying on the bed, Little Girl 
is sitting near.) 

Mother My child, we are very, very 
poor and I am so weak that I cannot 



work. I do not know what will become 
of us. (Puts her hands over her face and 
cries.) 

Little Girl (running over and comfort- 
ing her mother) Never mind, mother 
dear! Some day I shall be a rich lady 
and you shall have all you want. Now 
don't cry, mother. There is still some 
bread in the cupboard. I will get it 
and bring it to you. 

(Little girl goes to the cupboard and 
gets the piece of bread. She soaks it in 
water and brings it to her mother.) 

Little Girl Now, mother dear, eat 
this and you will get stronger. 

Mother (sitting up in bed to eat bread) . 
You are a good child and I don't know 
what I should do without you. 

(Mother eats the bread, then gives the 
plate to the child. The Little Girl sings 
a song as she sits by her mother's bed.) 

Little Girl (leaning eagerly towards her 
mother) Mother, I can work if I am 
small. The fields are full of nice ripe 
berries. I will go out and pick some 
and sell them to the man who keeps the 
store at the corner, and with the money 
I can buy fresh bread and milk for you 
and we need not be hungry any more. 

Mother (patting child on the head) You 
are a dear little comfort, but, my child, 
be very careful when you go out in 



LANGUAGE AND OCCUPATION WORK 



85 



the field, for there are often snakes 
among the bushes. 

Little Girl Yes, mother, I will be 
very careful. 

{lAttle Girl finds an empty pail and 
waves a good-by to her mother. She walks 
some distance until she reaches the field 
where the berries grow.) 

Little Girl (stopping in the middle of 
the berry -patch) Oh, what beautiful 
berries! They are so nice and ripe! 
How I should like to eat and eat until 
I just couldn't eat any more! (She 
begins to pick the berries and puts them 
into her pail.) But I cannot eat them, 
for if I do I shall not have enough to 
sell to the old man at the corner. 

(Ldttle Girl continues to pick the berries 
until her pail is half full. Then the 
old fairy mother creeps up noiselessly 
and watches her from behind a tree.) 

Old Woman (to herself) Poor little 
thing! See how thin her face is and 
how large and wistful her brown eyes 
look. She does not get enough to eat, 
I am sure. I will watch her and see if 
she deserves help. 

{Old Woman watches the child closely 
and nods her head approvingly. When 
quite satisfied she conies oui from behind 
the tree.) 



Old Woman (coming near the little 
girl) My child, what are you doing? 

Little Girl (looking up in a startled 
manner) I am picking some berries 
to sell to the old man who keeps the 
store on the corner. 

Old Woman But didn't you know 
that this was my field and that these 
were my berries? 

Little Girl (sadly) No, I did not. 
(Hands her pail to the Old Woman.) 
But here are all the berries. You may 
have them all. Believe me, I did not 
intend to take what belonged to some 
one else. 

Old Woman (drawing out the little 
earthen pot from her cloak and handing 
it to the Little Girl) My child, I will 
take the berries, but I will give you 
something far better in their place. 
Here is a little earthen pot. You may 
have it for your own. 

Little Girl (looking first at her berries 
and then at the pot, while tears of dis- 
appointment come in her eyes) But we 
have so many empty pots and pans 
at home, and I did so want to sell the 
berries, so I could buy some bread for 
mother! 

Old Woman If I could give you what- 
ever you wanted to eat right now, 
what would you choose? 

Little Girl (brushing away her tears) 
Sweet rice porridge; I would rather have 



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some sweet rice porridge than anything 
else in the world. 

Old Woman Well, then, go home, 
and this little pot I have given you will 
cook sweet rice porridge for you. 

Little Girl (looking doubtful) But 
mother hasn't any rice and we have been 
out of sugar for days. 

Old Woman All you have to say is, 
"Cook, little pot," and it will begin to 
cook the sweet rice porridge, and when 
you have had enough, say, "Little pot, 
stop," and it will stop. 

(Old Woman disappears into the woods.) 

Little Girl {calls out loudly to Old 
Woman) Thank you, dear Old Woman ! 

{Little Girl runs home holding the 
earthen pot very close. When she reaches 
the house she throws open the door and 
rushes in to her mother.) 

Little Girl See, mother, what a good 
old woman gave me ! It is a wonderful 
little pot. All we need to say is, 
" Cook, little pot," and it will cook sweet 
rice porridge for us. When we have all 
we want, we must say, "Little pot, 
stop," and it will stop cooking. Now, 
mother, we will have some porridge 
right away. I will put the little pot 
on the hearth stone and see what it will 
do. 



{Little Girl sets the pot on the hearthstone 
and the mother sits up in bed to watch the 
result.) 

Mother Cook, little pot! 

{Pot cooks sweet rice porridge. The 
mother looks surprised and the little 
girl claps her hands and dances around 
with delight.) 

Mother Little pot, stop! 

{Little girl runs to cupboard and gets 
out saucers and spoons, fills the saucers 
with sweet rice porridge, gives one to her 
mother and takes the other and sits on a 
chair and eats it.) 

Little Girl {smacking her lips) My, 
but isn't this good! It's the best rice 
porridge I ever tasted. I'm certainly 
glad I met that old woman. 

Mother I am glad too, daughter, for 
I really believe I shall be able to work 
to-morrow. I feel so much stronger 
now, and after a good night's rest, I 
shall be quite well. 

{Little Girl takes saucers and puts 
them on the table; also takes pot from the 
hearthstone and puts it on the table.) 

Mother Suppose we go to bed now 
so we can have a good night's rest. 
You may fasten the doors and windows 
and come to bed. 



LANGUAGE AND OCCUPATION WORK 



(Mother lies back on her pillow and 
goes to sleep. Little Girl fastens the 
doors and windows and then undresses 
and lies down beside her mother. They 
sleep until morning.) 

Little Girl {yawning and stretching) 
Oh, dear me! It is morning already. 
I must get up before mother wakes. 

Mother I am awake ab-eady, daugh- 
ter, and I feel so well that I think I will 
go up to the big white house on the 
hill and finish the work I started the 
day I was taken sick. We will get up 
and have some sweet rice porridge for 
our breakfast. 

{Mother and child get up and dress.) 

Mother {placing pot on the hearthstone) 
Cook, little pot! Get the spoons and 
saucers, my child, for the little pot has 
begun to cook. 

{Little girl brings spoons and saucers 
and they eat their breakfast.) 

Little Girl It is just as good as it was 
last night, mother. 

Mother Yes, and we can always 
have it just as good, for unless we 
break the little pot it will always cook 
sweet rice porridge for us. But I 
think we have enough now. Little 
pot, stop! 



{Mother places her saucer on the table, 
takes the pot and puis U on a high shelf 
in the cupboard.) 

Mother {tying on her bonnet) Now I 
must go. Be a good little girl. Take 
care of the house and do not touch the 
little pot while I am gone. When I 
come home you shall have some more 
of the porridge you like so much. 

Little Girl {kissing her mother) I will 
be a good little girl and mind everything 
you have told me, mother dear. 
Good-by. 

Mother Good-by. 

{Mother goes out to the house on the hill, 
Little Girl sweeps the floor, washes the 
dishes and puts fresh flowers on the table, 
singing all the time. Then she sits down 
to sew.) 

Little Girl {talking to herself) Dear 
me, I am so hungry! How good some 
of that rice porridge would taste! lam 
sure I wouldn't break the little pot. I 
would be so careful. {Goes to the cup- 
board door, opens it, and looks at pot.) 
Mother told me not to touch it because 
she thought I would break it, but I am 
sure I would not. If mother knew how 
hungry I was she would be glad for me 
to have some sweet rice porridge. Yes, 
I am sure she would say: "Yes, little 
daughter, eat all you want." {Gets 



LANGUAGE AND OCCUPATION WORK 



89 



chair and stands on it.) I am going to 
get it down anyway. 

(Liittle Girl takes the little pot and sets 
it carefully on the hearthstone. Then 
gets her saucer and spoon and stands 
ready to eai.) 

Little Girl Cook, little pot! 

{The little pot begins to cook and the 
child fills her saucer and, turning her back 
on the pot, eats her porridge greedily.) 

Little Girl Oh, how good this tastes! 
It gets better every time. 

{Ldttle Girl turns and finds that pot is 
overflowing.) 

Ldttle Girl (excitedly) That's enough! 
Here! Halt! I have had enough! 

{But the little pot keeps on cooking. 
The child wrings her hands and cries.) 

Little Girl {climbing on chair to avoid 
porridge) That's enough, little pot! 
Please, please don't cook any more! 

{Pot continues to cook and child weeps 
bitterly.) 

Little Girl {drying her eyes and looking 
around) I cannot stay here, for this 
porridge will soon be over my head. I 
will go and find mother. I have for- 
gotten what I must say when I want the 



little pot to stop. I will run up on the 
hill and perhaps she can tell me. 

(Little Girl wades through porridge, 
opens the door and runs up on the hill to 
her mother. The children who are playing 
in the street come rushing to the door with 
spoons.) 

Child No. I Look at that porridge 
running out of that house! 

Child No. II (peeping in the door) 
Why, the house is full! 

Child No. Ill (tasting the porridge) 
Whew! but it is the best porridge! 

(All the children begin to eat greedily.) 

Child No. IV I never tasted any- 
thing half so good. 

Child No. V I wonder where it came 
from. 

Little Girl (calling to mother) Oh, 
mother, I took down the little pot, I was 
so hungry, and I didn't think you would 
mind! I told it to cook, but when I 
wanted it to stop I forgot what to say. 
It won't stop cooking and the whole 
street is full of rice porridge. 

Mother Little pot, stop! 

(Their attention is attracted to some 
milkmen who come driving into town. 
They stop in surprise when they see the 
streets filled with porridge.) 



90 



LANGUAGE AND OCCUPATION WORK 



Milkmen What is this, anyway? 

People {standing at their doors) It's 
sweet rice porridge. Get some shovels 
and make us some paths. 

{Milkmen begin to shovel paths. People 
come out with bowls and spoons and take 
up a supply of rice porridge.) 

Little Girl {clinging to her mother) 
Oh, mother, see all the trouble I have 
made! I'll never be disobedient again. 

SAND-TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 

The principal scenes in "Sweet Rice 
Porridge" take place in the interior, 
and for this reason they are difficult 
to demonstrate on the sand-table. 

There are two scenes, however, which 
can be combined with the general plan 
of the village in which the story takes 
place so as to make a very pleasing 
demonstration. 

This is the scene in the berry patch 
where the old fairy mother gives the 
little girl the wonderful pot in exchange 
for the berries, and the scene where the 
milkman comes in town and is aston- 
ished to find the streets covered with 
sweet rice porridge. 

On the right-hand side of the table 
should be placed the modest little home 
of the little girl. 



It can be very simply constructed 
of light construction paper. Around 
it should be built a four-rail woven fence. 
The 5" sticks which the children use in 
their number work can be used for this. 

An opening should be left for a gate, 
and a path, made by sprinkling white 
sand, can run from the door to the gate. 

In the yard we see a sparse growth of 
gi'ass (green waxola). We also see some 
trees which are represented by sprigs 
of boxwood. 

To the left of the house is the berry 
patch where the little girl met with such 
good fortune. This field is thickly 
studded with berr>^ bushes (small box- 
wood sprigs.) Here we find the little 
girl and the old fairy mother. Both of 
these can be cut from stiff construction 
paper. 

The sand on the table should be 
sloped from the left down so as to form 
a hill on the left-hand side of the table. 

On this hill we find a large house, 
very beautiful both as to structure and 
surroundings, for this is the "big house 
on the hill" where the mother went to 
work on that unfortunate day when the 
little pot refused to stop. 

This house should be built of clay 
bricks. It should have a tower at 
either end five inches in diameter. 
The diameters of these towers should 
gradually decrease as they ascend until 



LANGUAGE AND OCCUPATION WORK 



91 



they reach a diameter of two and a 
half inches at a height of eight inches. 

These towers are connected by a 
rectangular portion 8" long, 8" high and 
2K" wide. 

Doors and windows should be cut 
in this structure as desired while the 
clay is soft. 

On top of the rectangular portion is 
placed an ornamental finish made of 
gray cardboard and on top of the towers 
are placed cone-shaped roofs made of 
gray construction paper to represent 
slate. 

A cardboard floor is laid for the porch 
floor, 8x6", and on the four corners of 
this are set square blocks of moist clay 
in which rolled paper pillars 6" high are 
placed. On top of these pillars is laid 
a piece of cardboard 8x6" covered with 
gray paper. This serves as a roof 
for the porch. 

We see a large lawn sloping down from 
this house. On this is a luxuriant 



growth of grass (green waxola), and we 
also see some large trees scattered 
around. (Evergreen sprigs are used 
for trees.) 

In the yard on either side of the white 
sand walk which leads from the door to 
the gate are two jardinieres, cut from 
paper and pushed down in the sand, so 
they will hold some boxwood sprigs. 

This lawn is enclosed by a fence 
made of clay pillars, IJ^" high and 1" 
square on top. On these pillars are laid 
4" sticks to represent railings. 

A road of white sand runs from the 
modest little home on the left hand side 
of the sand-table, out past "the big 
house on the hill," and in this road, 
which is covered with sweet rice porridge 
(a thick mixture of flour, water and salt), 
we find a surprised milkman, with his 
milk cart, which is filled with milk cans. 

The cart, horse, milk cans and man 
are all constructed from construction 
paper by the aid of patterns. 



PAPER CUTTING 




A LITTLE CAT TROTTED UP CLOSE BESIDE HIM 



BILLY BOB-TAIL 



THE STORY 
There was once a dear little, queer 
little boy named Billy Bob-Tail. He 
had no father nor mother and sometimes 
Billy thought he had no friends, for he 
was often hungry and cold. But he was 
a very happy little boy even though he 
had so many things to make him 
unhappy. 

One day Billy Bob-Tail was sitting 
on the curbstone thinking about all 
his troubles. When he got up he 
had come to a conclusion, for he put 
his hands in his pockets and said to 
himself: "I am a poor boy. I have 
no home and no friends. I will go 
out into the world and seek my for- 
tune." 

So he started out to seek his fortune. 
He wasn't quite sure what this fortune 
would be, but he felt certain he would 
find something if he only went far 
enough. He didn't quite know which 
road he would take, but something 
seemed to lead him out towards the 
river where the beautiful houses and 
lawns were. 

Now, as Billy walked on whistling 
a merry tune, for he had to whistle 



to keep up his courage, a little yellow 
cat trotted up close beside him. 

Billy didn't notice the cat at first, 
but Pussy was determined to be noticed, 
and so decided to speak for himself. 
"Mew! mew!" said the cat. "Where 
are you going, Billy Bob-tail?" 

"Why," said Billy Bob-tail," I am 
going out to seek my fortune." 

Then that cat stood up on her hind 
legs and walked just like Billy and said : 
"May I go too?" 

"No," said Billy. "Who wants to 
be followed by a cat?" 

"Oh, please," said the cat. "You 
see I have no home. I had a good home, 
but the people have moved away and I 
am left alone." 

Then Billy Bob-Tail felt so sorry, for 
he was without a home, too, and he 
reached down and stroked the soft fur, 
saying: "Well, come on then, poor 
little pussy," and they trudged down 
the street together, Billy and the cat. 

They hadn't walked far before Billy 
heard some one saying: "Where are 
you going, Billy Bob-Tail?" and, turn- 
ing, he saw an old white dog. He might 
have been a pretty dog at one time, but 

93 



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LANGUAGE AND OCCUPATION WORK 



95 



now his hair was all dirty and knotted 
with burs. So Billy Bob-Tail didn't 
waste much time in saying : "I'm going 
out to seek my fortune." 

Then the dog came very close and 
said: "May I go with you?" 

Billy Bob-Tail was just a little an- 
noyed, so he answered, " No ; who wants 
to be followed by a dog, and an old white 
dog, at that?" 

Then the dog stopped and looked over 
the bank of the river in such a queer 
way that Billy grew frightened and 
said to himself: "Now how sorry I 
would feel if he should jump in and 
drown." So he called the dog, and told 
him he could go on with him and he 
would find some way to care for him. So 
Billy, the cat and the dog went on. 

By this time they were out in the 
country and were passing large farms, 
which were well stocked, and Billy 
was wondering if his fortune would not 
end in his turning a farmer, when he 
heard a queer "Moo, moo!" behind 
him and something said in a very low, 
gruff voice, "Where are you going, Billy 
Bob-Tail?" 

Billy turned with a start and saw be- 
hind him an old cow with crooked horns. 
He was a polite little boy, so he said: 
"Why, I'm going out to seek my 
fortime." Then the cow came very 
close and rubbed her nose on Billy Bob- 



Tail's shoulder and said in such a coax- 
ing voice: "Please, Billy Bob-Tail, let 
me go with you!" 

Billy looked at the cat, then at the 
dog, and then at the cow, and said: 
"I can't take you. Why, I haven't 
anything for myself and here's the cat 
and the dog, and besides, whoever 
heard of anyone going out to seek his* 
fortune with a cow at his heels? " 

Then the cow came up even closer 
and said: "Please take me, Billy Bob- 
Tail; my master has sold my little calf 
and I am all alone on the world." 

"Well, then," said Billy, "come on. 
One more can't make much difference. 

So on he trudged with the cat, the 
dog and the cow. They made a strange 
sight, but they were all in an unusually 
good humor. Billy was whistling a 
merry tune. The cat and dog were 
trotting peacefully side by side. The 
cow would stop whenever she saw a 
good patch of grass and then she would 
run to catch the others. 

But something made Billy stop his 
merry whistle. It was a weak "Baa! 
baa!" from the ditch on the roadside. 
When Billy walked over he found a 
goat harnessed to a wagon which was 
stuck in the mud. Billy unharnessed 
the poor creature and was just turning 
around to go when the goat asked: 
" Where are you going, Billy Bob-tail? " 



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LANGUAGE AND OCCUPATIuN WORK 



97 



"Why," said Billy, "I'm going out to 
seek my fortune, but it seems I am 
having a hard time finding it." 

Then the goat stood up on his hind 
legs, as if he wanted to beg, and said, 
"May I go too?" 

Billy Bob-tail laughed until his sides 
hurt and said: "No; whoever heard of 
a goat going out to seek his fortune?" 

Then the goat looked so sad and 
begged, "Oh, please take me, Billy! 
The little boy who owns me is so cruel." 

"Well, come on," said Billy, tossing 
his head. "If I get very tired I'll ride 
you, but it will be a hard old ride." 
So the goat trotted on behind. And 
Billy, the cat, the dog, the cow and the 
goat went down the road. 

But they had scarcely started again 
when Billy heard a tiny "Wee! wee!" 
and a little piping voice said: "Where 
are you going, Billy Bob-tail?" and a 
tiny little pig ran right between his 
legs. 

"My!" said Billy; "how you fright- 
ened me! "I'm going out to seek my 
fortune." 

"May I go?" asked the pig. 

"Ha! ha! ha!" said Billy; "how 
everybody would laugh to see me seek- 
ing my fortune with a dirty pig like you." 

" Oh, please, Billy ! " said the pig. " I 
must go! The butcher is coming to kill 
me to-morrow." 



Poor Billy couldn't bear the thought 
of the butcher with his cruel knife, so 
he said: "I can't leave you for the 
butcher, little pig, so come on with me. 
We'll manage some way." 

And so on they went, Billy, the cat, 
the dog, the cow, the goat and the pig, 
until they came to a dark forest. Then 
Billy told them all to sit around in a 
circle, for he felt sure they needed rest, 
and then too he wanted to talk to them. 

"My friends," he said, when they 
were all seated, "do you see that deep, 
dark forest just ahead of us?" They 
all bowed their heads, which was their 
easiest way of saying "Yes," and Billy 
went on: 

"We must go through it. But don't 
be afraid. If anything tries to hurt us I 
can whistle and throw stones." Then 
the cat said, " I can mew and scratch." 
And the dog said: "I can bark and 
bite." "I can moo and hook said the 
cow." "I can bleat and butt," said 
the goat. And I can squeal and bite," 
said the pig. 

"We are all right," said Billy Bob- 
Tail. "Hurrah!" and he tossed up 
his cap three times. 

So they went on into the forest. But 
the farther they went the darker it got, 
and at last they could scarcely see their 
hands before them. Then a terrible 
thing happened. Billy heard a queer 



98 



LANGUAGE AND OCCUPATION WORK 



rustling in the bushes and a great, big 
black thing, with two enormous horns, 
came up from a ditch and ran towards 
them with a deep growl. It came 
nearer and nearer, and Billy, the cat, 
the dog, the cow, the goat and the pig 
shook with fear. 

"Make all the noise you can," said 
Billy, "while I whistle." 

So Billy whistled, the cat mewed, the 
dog barked, the cow lowed, the goat 
bleated and the pig squealed. The 
ugly black thing stopped just where he 
was and then ran as fast as he could over 
the dead trees and out of sight. 

Now the cat can see quite well in the 
dark, so before Billy, the dog, the cow, 
the goat or the pig had noticed it, she 
spied a little white house just ahead of 
them. 

"Oh, see that little house!" said the 
cat. "Let us go in and spend the 
night." 

But the dog had not yet stopped 
trembling from his fright, so he said: 
"No, no, don't think of such a thing! 
It must be the home of that horrid ani- 
mal we saw awhile ago." 

"That is so," said Billy Bob-Tail; 
"but then there is a chance that it isn't 
his home. How can we find out?" 

"I can soon settle that," said the cat; 
"my paws are very soft. I can creep 
up without any noise and my eyes can 



see, even though it is dark. I will creep 
up and peep through the window." 

So the cat climbed up on the window- 
sill and she saw a beautiful little room all 
furnished in white. There were white 
curtains at the windows, a white table 
and white chairs and ever\i;hing was 
so neat and clean. 

The cat looked so long that Billy 
began to get impatient, and so he 
called to her: "What do you see? Is 
there anyone there?" 

"Not a soul," said the cat, as she 
climbed down. "And it looks as if it 
were made for us. Let's go in." 

So Billy, the cat, the dog, the cow, the 
goat and the pig all went in. And 
when Billy saw how nice and neat it 
was he sank down on the little white 
bed and said: "We will live here always; 
this is my fortune." 

Suggestions for Dramatization 

Before this story is dramatized the 
five children who represent the cat, the 
dog, the cow, the goat and the pig are 
placed at convenient intervals around 
the room, and the child who represents 
the unknown animal hides a short 
distance from the pig at the place where 
the forest is supposed to be. 

At the beginning of the play Billy 
is seen sitting in a dejected attitude on 



LANGUAGE AND OCCUPATION WORK 



99 



the curbstone. He is homeless and 
friendless and he feels that some move 
must be made at once. When he comes 
to the decision that he will go out and 
seek his fortune he jumps up, and, boy 
like, shows his determination by putting 
his hands in his pockets and starting 
off. 

He meets the animals and talks with 
them one by one. When they approach 
him they walk on all fours, but when they 
beg to go with him they stand in an 
upright position, with their hands held 
in a drooping manner, as if begging. 
When they walk on as companions of 
Billy, however, they walk as children 
usually do. 

A chair can serve as the cart to which 
the goat is hitched and cord will answer 
the purpose of harness. 

After they enter the forest the un- 
known animal rises from its place and 
comes toward them. Billy, in terror, 
begins to whistle and the animals each 
make their own peculiar noise. The 
unknown animal stops, stands still for a 
few seconds and then runs away very 
rapidly. 

When Billy sees that they have been 
successful in frightening him away he 
becomes ver>' powerful in his own 
estimation and makes the boast that he, 
with the aid of the animals, could 
frighten an army. 



The cat's bright eyes discover a house 
in the distance. She stands upon a chair 
and peeps over the teacher's desk, 
which represents the window-sill, and 
views the interior. 

Billy leads the way in behind the 
desk, and sinking down on two chairs 
which represent a bed, declares that 
they will live there always and that 
he has, at last, found his fortune. 

THE DRAMATIZATION 

Major Characters 
Billy Bob-Tail 

Minor Characters 
Cat 
Dog 
Cow 
Goat 
Pig 
Unknown animal 

(Billy Bob-Tail is sitting on the curb- 
stone in deep thought.) 

Billy Bob-Tail (jumping up suddenly 
and taking a resolute stand with his hands 
in his pockets) I am a poor boy. I 
have no home and no friends. I will 
go out into the world and seek my 
fortune. (Turns in an undecided way, 
looks first at one road and then at the 
other.) I wonder which road I had 
better take. I guess I will just say, 
"My mother told me," and find out. 
(Points first to one road and then to the- 



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I— I 
Eh 

o 

PL. 




LANGUAGE AND OCCUPATION WORK 



101 



other while saying these words.) My 
mother told me to take this one. Ha! 
Ha! The very one I wanted to take. 
This leads me out by the beautiful houses 
and green lawns. 

{Billy walks on down the road whistling. 
After he has gone several squares a Cat 
runs up close beside him.) 

Cat Mew! Mew! Where are you 
going, Billy Bob-Tail? 

Billy Bob-Tail {turning with a start) 
Why, I am going out to seek my fortune. 

Cat {standing up on hind legs and 
walking up close to Billy) May I go, 
too? 

Billy Bob-Tail No, who wants to be 
followed by a cat? 

Cat Oh, please! You see I have no 
home. I had a good home, but the 
people have moved away and I am left 
alone. 

Billy Bob-Tail {reaching down and 
stroking the Cat) Well, come on, then, 
poor little pussy. 

{Billy and the Cat trudge on down the 
street. A Dog walks up close behind 
them.) 

Dog Where are you going, Billy 
Bob-Tail? 

Billy Bob-Tail {turning and facing 
the Dog) I am going out to seek my 
fortune. 



Dog {coming close to Billy) May I 
go with you? 

Billy Bob-Tail (in disgusted tone) No; 
who wants to be followed by a dog and 
an old white dog at that? 

{Dog goes to bank of river and looks 
over as if he meditated a plunge.) 

Billy Bob-Tail {aside) Now how sorry 
I would feel if he should jump in and 
drown. {Aloud.) Here, Dog! Come 
here! {Dog comes close to Billy.) I 
guess you can go. I'll try to find some 
way to care for you. 

(Billy, the Cat and the Dog go down 
the street.) 

Billy Bob-Tail (meditatively, as they 
pass a well-kept farm) I wonder if my 
fortune won't end in my being a farmer. 
It's hard to tell. 

(A Cow comes up behind Billy.) 

Cow Moo! Moo! Where are you 
going, Billy Bob-Tail? 

Billy Bob-Tail {turning and facing 
Cow) Why, I am going out to seek my 
fortune. 

Cow {coming close to Billy Bob-Tail and 
rubbing his nose on his shoulder) Please, 
Billy Bob-Tail, let me go with you. 

Billy Bob-Tail (looking first at the Cat, 
then at the Dog, and then at the Cow) 
I can't take you. Why, I haven't 



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LANGUAGE AND OCCUPATION WORK 



103 



anything for myself, and here's the Cat 
and Dog. Besides, whoever heard of 
anyone going out to seek his fortune with 
a cow at his heels! 

Cow {coming close and talking in a 
coaxing voice) Please take me, Billy 
Bob-Tail. My master has sold my 
little calf and I am all alone in the 
world. 

Billy Bob-Tail {turning and walking 
on) Well, then, come on. One more 
can't make much more difference. 

{Billy Bob-Tail, the Cat, the Dog and 
the Cow walk on down the street. Billy 
whistles a ynerry tune, the Cat and Dog 
run on, side by side. The Cow stops 
occasionally to eat grass and then runs 
on to catch up with the others.) 

Goat {pulling hard to get the wagon 
to which he is hitched out of the ditch) 
Baa! baa! 

{Billy Bob-Tail walks over and finds 
Goat. He is followed by the Cat, the Dog, 
and the Cow, who look inquiringly at the 
unfortunate Goat.) 

Billy Bob-Tail Poor httle Goat, you 
are in a bad fix, but I will soon set you 
free. {Stoops down and unfastens the 
harness.) Now you can go. 

{Billy Bob-Tail turns to leave the Goat.) 

Goat Where are you going, Billy 
Bob-Tail? 



Billy Bob-Tail {stopping and looking 
around) Why, I am going out to seek 
my fortune, but it seems I am having a 
hard time finding it. 

Goat {standing up on hind legs and 
begging) May I go too? 

Billy Bob-Tail {laughing heartily) No; 
whoever heard of a goat going out to seek 
his fortune? 

Goat {coming nearer) Oh, please take 
me, Billy! The little boy who owns me 
is so cruel. 

Billy Bob-Tail Well, come on. If 
I get very tired, I'll ride you, but it 
will be a hard old ride. 

{Billy, the Cat, the Dog, the Cow, and 
the Goat go on down the road until they 
are overtaken by a Pig.) 

Pig {running between Billy Bob-Tail's 
legs) Wee! wee! Where are you go- 
ing, Billy Bob-Tail? 

Billy Bob-Tail My, how you frighten 
me ! I am going out to seek my fortune. 

Pig {standing up on hind legs) May I 
go? 

Billy Bob-Tail (laughing heartily) Ha » 
ha! ha! how everybody would laugh 
to see me seeking my fortune with a 
dirty pig like you. 

Pig {eagerly) Oh, please, Billy! I 
must go. The butcher is coming to 
kill me to-morrow. 

Billy Bob-Tail I can't leave you for 



LANGUAGE AND OCCUPATION WORK 



105 



the butcher, Uttle Pig, so come on with 
me. We will manage some way. 

(Billy, the Cat, the Dog, the Cow, the 
Goat and the Pig go on down the road 
until they come to a large forest.) 

Billy Bob-Tail (stopping suddenly) 
My, what a dark forest! (Turning to 
his companions) I am sure you must 
all be tired, so let us all sit down on this 
green grass and rest. (The Cat, the Dog, 
the Cow, the Goat, and the Pig all sit 
down in a circle. Billy Bob-Tail stands 
in the middle.) 

Billy Bob-Tail My friends, do you 
see that deep dark forest just ahead of 
us? 

(All the animals bow their heads to give 
assent.) 

We must go through it. But don't 
be afraid; if anything tries to hurt us 
I can whistle and throw stones. 

Cat I can mew and scratch. 

Dog I can bark and bite. 

Cow I can moo and hook. 

Goat I can bleat and butt. 

Pig I can squeal and bite. 

Billy Bob-Tail We are all right 
(tosses up his cap three times). Hurrah! 
hurrah! hurrah! Let us go on into the 
forest. 

(All the animals rise and follow Billy 
into the forest.) 



Billy Bob-Tail How dark it is! I 
can scarcely see my hand before me. 
What is that queer rustling? 

(An unknown animal rises from the 
ditch and comes towards them.) 

Cat Look at that big, black thing 
with two horns coming toward us. 

Billy Bob-Tail Make all the noise 
you can while I whistle. (Billy begins 
to whistle.) 

(All together.) 

Cat Mew, mew, mew! 
Dog Bow, wow, wow! 
Cow Moo, moo, moo! 
Goat Baa, baa, baa! 
Pig Wee, wee, wee! 

(Unknown animal stops, stands still 
for a few minutes and then runs away 
very rapidly.) 

Billy Bob-Tail See him run! I tell 
you we could frighten an army. 

Cat (looking intently before her) Oh, 
see that little house! Let us go in and 
spend the night. 

Dog No, no, don't think of such a 
thing. It might be the home of that 
horrid animal we saw awhile ago. 

Billy Bob-Tail That is so, but there 
is a chance that it isn't his home. How 
can we find out? 

Cat I can soon settle that. My 



106 



LANGUAGE AND OCCUPATION WORK 



paws are very soft. I can creep up 
without any noise and my eyes can see 
even though it is dark. I will creep up 
and peep through the window. 

{Cat climbs up to the mndow-siU and 
looks in, remains there several minutes.) 

Billy Bob-Tail (impatiently) What 
do you see? Is there anyone there? 

Cat (climbing down) Not a soul. And 
it looks as if it were made for us. Let's 
go in. 



Billy 

Dog 

Cow 

Goat 

Pig 



> All right. 



(Billy, the Cat, the Dog, the Cow, the 
Goat, and the Pig all go in. Animals 
look around curiously. BiUy examines 
things carefully.) 

Billy Bob-Tail (sinking down on the 
bed) We will live here always. This 
is my fortune. 

SAND-TABLE DEMONSTRATION 
(For illustration of sand-table, see Appendix.) 

We first get acquainted with Billy 
Bob-Tail when he sits on the curbstone 
of the city street lamenting his sad 
fate. 

So our sand-table shows us first a 
long row of well-kept houses. The 



houses can be constructed of gray card- 
board and should differ somewhat in 
structure. 

At the windows we see green shades 
and lace curtains. Small pieces of green 
paper pasted over one-half of the win- 
dow on the inside before the house is 
pasted together can be used to represent 
the shades, and the lace paper from 
candy boxes is seen below the green 
shades to represent lace ciulains. 

The houses are enclosed by a fence 
made from the 5" sticks which the 
children use in their number work. 
These are put into the sand 2" apart 
and similar sticks are laid on top of 
these to represent a railing. 

In front of these houses we see a 
pavement made of dry bricks laid close 
together. Along the edge of this side- 
walk is a border of green grass (waxola 
plentifully sprinkled). The yards, too, 
are well kept and have a heavy growth 
of grass. Even walks of white sand 
run from the doors to the gates. 

We find Billy here sitting in a medi- 
tative attitude on the curb. He is 
cut from paper with a fiat standard, 
so he will sit alone. 

A road of white sand leads on past 

these houses, until it loses itself in a 

deep, dark forest a little farther on. 

This forest is made of evergreen sprigs 

I stuck in the sand. 



LANGUAGE AND OCCUPATION WORK 



107 



To one side of the forest we meet 
Billy Bob-Tail again. He is standing 
here addressing his friends who are 
going with him to seek their fortune. 
Here we find the cat, the dog, the cow, 
the goat, and the pig all sitting and 
listening very attentively to Billy as 
he pictures the dangers which lie in the 
forest. 



All these animals, as well as Billy, 
should be cut from paper and mounted 
so as to stand alone. 

On the other side of the forest we see 
a neat little house and at the window 
of this house we find the cat. 

Billy, the dog, the cow, the goat, 
and the pig are all waiting the cat's 
decision. 




I— I 






THE PIED PIPER OF HAMELIN 



THE STORY 

Once upon a time, in a little town 
called Hamelin, which lies a great way 
from here, a very strange thing hap- 
pened. Hamelin was a queer little 
town. It was very hilly, and if you 
stood in the middle of the town you 
could see far off in the distance a high 
mountain, then to the other side you 
could see a big river flowing between 
its broad banks. 

This town was much annoyed by 
rats. They were everywhere. In the 
houses, in the stores, on the streets, 
everjrwhere. 

If you had gone into any of the 
houses of Hamelin this is what you 
would have heard and seen. You would 
have seen the mother bending over 
the cradle where her baby was tossing 
because the rats had bitten it. The 
mother would wring her hands and 
say: "My poor baby! My poor baby! 
See where that rat bit its little nose! 
It cannot rest for the horrid rats. I 
will take my chair and sit beside it and 
keep them away." 

You would see the little boys and 
girls in school trying to study their 



lessons, and when they took a book 
from the desk a horrid rat would jump 
out. Then they would drop the book 
to the floor and put their feet on the 
seat and say: "There's a rat, a horrid 
rat! He was in my desk and when I 
took out my book he ran away." 

Then if you looked in the kitchen 
you would see the cook stirring the soup 
with a big ladle, and when she raised 
the ladle to see if the soup needed more 
thickening a rat would jump into it. 
Then the cook would throw the ladle 
aside and run from the kitchen, crying 
in a loud voice: "These rats, these 
rats! They even eat the cheese from 
the vats and lick the soup from my 
ladle." 

Then when you went into the parlor, 
where a number of ladies were having 
an afternoon tea, you would hear them 
chattering and talking about a number 
of things. One would say: "Did you 
go to the concert last night, Mrs. 
Brown?" And Mrs, Brown would an- 
swer: "Yes, the music was very fine." 
Then just as Mrs. Brown tried to tell 
about the concert there would come 
such a shrieking and a squeaking that 

109 



110 



LANGUAGE AND OCCUPATION WORK 



they could not hear each other's voices 
and everyone would cry out, "Oh, 
those horrid rats! What shall we do, 
what shall we do?" 

At last it was so bad that the people 
simply couldn't stand it any longer. 
So a great many got together and went 
to see the mayor. He was sitting in 
the town hall reading a newspaper. 
They knocked at the door and the 
mayor put down his paper and called, 
"Come in." Then when they came 
inside and saw how comfortable the 
mayor looked and how little he was 
doing to rid the town of rats, they grew 
angry and one man came forward and 
said: "We should like to know what 
you are good for. You just sit here all 
day and do not worry, while we are 
troubled every minute with rats." An- 
other said: "You must do something 
to get rid of them." And still another 
one spoke: "If you don't rid this town 
of rats we will send you away. Do 
something and do it quickly." 

The poor mayor sat with his head in 
his hands and thought and thought, 
but all he could say was: "My dear 
man, if I knew what to do I would do 
it gladly. Suppose we set traps." 

Then one of the men answered: 
"Traps indeed! You could set a hun- 
dred traps and then not catch one single 
family." 



"Well," said the mayor, "suppose we 
get some cats." 

This made the men very angry in- 
deed, and they shouted: "Haven't we 
all the cats we can get at work now?" 
Then they all shouted together: "Do 
something and do it quickly. Let us 
take him away if he doesn't help us." 
So they started to take the mayor away, 
but just as they were ready to take him 
out they heard a rap-a-tap on the door 
and the mayor said: "Oh, there is a 
rat, and anything like the sound of a rat 
makes my poor old heart go pit-a-pat!" 
Then one of the men said: "Why, that 
isn't a rat; it is only a scraping of shoes 
on the mat. We will not trouble the 
mayor just now, but we will wait until 
we see who it is." Then the rap-a-tap 
was heard again and the mayor settled 
himself in the chair, and said : " Come in," 
and in came the queerest looking man. 

He was very tall and very thin, with a 
sharp chin and a mouth where the smiles 
went out and in, and two blue eyes, 
each like a pin, and he was dressed 
half in red and half in yellow. He really 
was the strangest fellow! Round his 
neck he had a long red and yellow ribbon, 
and on it was hung a thing somewhat 
like a flute and his fingers went straying 
up and down it as if he would be playing. 

All the people looked much surprised 
I to see so strange a figure, but he came 



LANGUAGE AND OCCUPATION WORK 



HI 



up to the mayor and said: "I hear 
you are troubled with rats in this 
town." 

"I should say we are," groaned the 
mayor. 

"Would you like to get rid of them? 
I can do it for you." 

" You can? ' ' cried the mayor. " Who 
are you, anyway?" 

"Men call me the Pied Piper," said 
the man, "and I know a way to draw 
after me anything that walks or flies 
or swims. What will you give me if I 
rid your town of rats?" 

"Anything, anything! " the mayor said. 

" I don't believe you can do it, but 
if you can I'll give you five thousand 
dollars." 

"All right," said the Piper, "it is a 
bargain." And then he went to the 
door and stepped out into the street 
and put the long flute to his lips and 
began to play a little tune, a strange 
high little tune, and when he had played 
three shrill notes: 

You heard as if an army muttered; 
And the muttering grew to a grumbling; 
And the grumbUng grew to a mighty rumbling; 
And out of the house the rats came tumbling. 
Great rats, small rats, lean rats, brawny rats, 
Brown rats, black rats, gray rats, tawny rats. 
Grave old plodders, gay young friskers. 
Fathers, mothers, uncles, cousins. 
Cocking tails and pricking whiskers, 
Brothers, sisters, husbands, wives — 
Followed the Piper for their lives. 



As the rats followed the Piper they 
were heard to squeak: "Oh, I hear the 
moving aside of pickle tubs." "I hear 
the leaving ajar of preserve cupboards." 
"I smell the most delicious old cheese." 
"I see a sugar barrel ahead of me." 
"I can hear a great yellow cheese say- 
ing: 'Come eat me.'" 

The Piper passed on from street to 
street, up one and down another, play- 
ing all the while, and at last they came 
to the edge of a big river, and then he 
turned sharply about and stepped aside, 
and all those rats tumbled hurry skurry, 
head over heels down the bank into the 
river, and were drowned — every single 
rat except one big fat old rat. He was 
so fat he didn't sink, and he swam across 
and ran down south to live. 

Then the Piper came back to the Town 
Hall. And all the people threw up their 
hats and waved their handkerchiefs 
and shouted for joy: "Hurrah for the 
Pied Piper of Hamelin." The mayor 
said: "Let us have a big celebration. 
Poke out all the old rat nests and let us 
build a great bonfire in the middle of 
the town." 

Then he turned to the Piper and 
shook hands in a friendly way and 
said: "Won't you stay and see our 
bonfire? We shall be so glad to have 
you." 
"Yes," said the Piper, that will be 



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LANGUAGE AND OCCUPATION WORK 



113 



very nice, but first, if you please, I 
should like my five thousand dollars." 

"H'm-er-ahem!" said the mayor. 
" You mean that little joke of mine — 
of course it was a joke." 

"I do not joke," said the Piper. 
"Give me my five thousand dollars, 
please, quickly." 

"Oh, come now," said the mayor 
slapping him on the shoulder. "You 
know very well it wasn't worth five 
cents to play a little tune like that; 
call it five dollars and let it go at that. 
Here is a brand new five-dollar bill." 

"A bargain is a bargain," said the 
Piper; "for the last time I ask you: 
Will you give me my five thousand 
dollars?" 

Then the mayor grew angry and said : 
"I'll give you a pipe of tobacco and 
something good to eat and call you 
lucky at that." 

Then the Piper looked so strange 
and, turning to the mayor, he said very 
softly: "I know another tune that I 
play to those who play false with me." 

"Play what you please, you can't 
frighten me. Do your worst. Play as 
you choose," said the mayor, looking 
big and powerful. 

Then the Piper put his pipe to his lips 
and began to play a soft, sweet, strange 
tune, and before he had played three 
notes you heard : 



A rustling that seemed like a bustling 

Of merry crowds justling at pitching and 

hustling; 
Small feet were pattering, wooden shoes 

clattering. 
Little hands clapping and little tongues 

chattering, 
And like fowls in a farm-yard when barley is 

scattering. 
Out came the children running. 
All the little boys and girls. 
With rosy cheeks and flaxen curls. 
And sparkling eyes and teeth like pearls. 
Tripping and skipping, ran merrily after 
The wonderful music with shouting and 

laughter. . 

When the people saw that the Piper 
was taking their children away they 
shouted: "Stop! Stop! Our children! 
He is taking our children away. Stop 
him, mayor, stop him!" 

Then the mayor cried: "I will give 
you your money, I will! Only don't 
take our children." Then they all 
started to run after the Piper, but they 
soon gave up in despair saying: "We 
cannot catch him. Let us return to our 
homes and there mourn for our chil- 
dren." 

The children followed after the Piper, 
singing and talking as they went. They 
were heard to say : "I can see a wonder- 
ful country just ahead. In this country 
the bees have no stings. The trees have 
wonderful fruit. No one is ever tired 
in this country. Come, come away! 
Come, come away!" Then they all 



114 



LANGUAGE AND OCCUPATION WORK 



ran dancing and singing, " Come, come 
away." 

The Piper went on and on up the 
hill towards the mountain, and just as 
they got to it the mountain opened like 
two great doors and the Piper went in 
through the opening, playing all the 
time, and the children danced after him 
and the great doors slid together again 
and shut them in. 

Suggestions for Dramatization 

In order to dramatize this story and 
gain the best results the teacher must 
observe a few points. It is quite neces- 
sary that the children visualize the 
scenes which show the general conditions 
of life in the town of Hamelin. Noth- 
ing can accomplish this quite so well as 
the few short scenes with which the 
story opens. 

The whole school-room is supposed 
to be the village when the time comes 
for the dramatization. The mountain 
should be in a comer of the room where 
there is a door. On the other side of 
the room is the river. 

The residential part of the town is 
near the river. Here is found the house 
in which the mother lives whose baby 
is troubled by the rats. Two small 
chairs will serve for a cradle. Near by 
is the school-house where some boys 
and girls are studying. The school 



desks prove useful here. The cook is 
given a place in this section also. 

When this was played in our school- 
room one of the children brought a 
little toy mouse which was made of 
gray cotton flannel and attached to an 
elastic string. It was the work of one 
of the little fellows to see that this was 
on the table, in the desk, and on the 
ladle at the proper time. The elastic 
cord made this an easy task. 

The ladies who are enjoying an after- 
noon tea are grouped near those who 
take part in the other scenes. The 
rats are hidden in every conceivable 
corner before the play begins and they 
begin scratching and squeaking loudly 
while Lady No. II is talking. 

The town hall is situated in the centre 
of the room. If the center is not cleared 
it will be wise to use one side, so a 
number of chairs can be placed around 
for the men who come to confer with 
the mayor. 

It makes the dramatization much 
more effective and gives infinitely more 
pleasure to the children if the Piper 
can be dressed in his yellow and red 
garments and can carry a toy horn. 
When he plays to charm the rats the 
music should be high and shrill. Three 
shrill notes summon the rats from their 
hiding places and they follow the Pied 
Piper. When they reach the river they 



LANGUAGE AND OCCUPATION WORK 



115 



struggle for some moments in the water. 
Only the fat rat reaches the other side, 
however. 

When the Piper charms the children 
the tune should be one of unusual 
sweetness. The baby jumps from its 
cradle, the children come from school 
and from the numerous houses near by. 
The desks can be used to represent the 
houses. 

They follow the Piper to the cloak- 
room door and when it opens they pass 
through singing: 

Come away, oh come, come away! 
Come away, oh come, come away! 
Come away, oh come, come away! 

THE DRAMATIZATION 

Major Characters 
The Mayor 
The Pied Piper 

Minor Characters 
Mother 
Baby 

Boy (in school) 
Girl (in school) 
Cook 

Lady No. I 
Lady No. II 
Lady No. Ill 
Man No. I 
Man No. II 
Man No. Ill 
Rats (any niunber desired.) 

Five are necessary. 
Children (any number desired.) 
Four are necessary. 

Mother {bending over a cradle in which 



a baby is sleeping) My poor baby! 
My poor baby! See where that rat 
bit its little nose. It cannot rest for 
those horrid rats. {Takes a chair and 
sits by the cradle.) I will take my chair 
and sit beside it and keep them away. 

{The scene changes to a school-room 
scene where two children are sitting study- 
ing.) 

Boy {takes a book from the desk and 
suddenly drops it) There's a rat, a 
horrid rat! He was in my desk and 
when I took my book out he ran away. 

{Girl who occupies the next seat sits 
on her feet and shows great fear.) 

{The scene changes to a kitchen scene. 
A cook is busy stirring soup with a long 
ladle.) 

Cook I wonder if this soup is thick 
enough. {Raises ladle on which a rat 
jumps, Cook throws ladle aside and runs 
from the room screaming) These rats! 
These rats! They even eat the cheese 
from the vats and lick the soup from my 
ladle. 

{The scene changes to a parlor scene 
where three ladies are seated around a 
tea-table.) 

Lady No. I Did you go to the concert 
last night, Mrs. Brown? 



o 

I— I 

< 

PL, 




LANGUAGE AND OCCUPATION WORK 



117 



Lady No. II Yes, and the music was 
fine. I don't think I ever — (a very 
loud noise of squeaking and scratching 
is heard which drowns Lady No. II's 
voice.) 

Lady No. I, Lady No. II, Lady No. Ill 
{all together) Oh those horrid rats! 
What shall we do? What shall we do? 

Lady No. I Suppose we go immedi- 
ately and send our husbands to the 
Mayor to see what can be done. 

Lady No. II and Lady No. Ill (to- 
gether) Good, good! We will. 

(They rush out and find husbands in 
their office.) 

Lady No. I, Lady No. II, and Lady 
No. Ill {together) {rushing in all out 
of breath) Something must be done 
immediately. We cannot live for those 
rats. {Cry hysterically.) 

Man No. I, Man No. II and Man 
No. Ill {together) We will go to the 
Mayor and see what he can do. 

{The three men rush out and start for 
the town hall. On reaching it they knock 
loudly at the door of the Mayor's office.) 

Mayor {sitting in office reading paper) 
Come in! 

Men {entering in great confusion) We 
should like to know what you are good 
for. 

Man No. I You just sit here all day 



and do not worry, while we are troubled 
every minute with these rats. 

Man No. II You must do something 
to get rid of them. 

Man No. Ill If you don't rid this 
town of rats we will send you away. 
Do something and do it quickly. 

Mayor {rising and walking up and 
down the floor) My dear men, if I 
knew what to do, I would do it gladly. 
Suppose we set traps? 

Man No. I {indignantly) Traps, in- 
deed! You could set a hundred traps 
and then not catch one single family. 

Mayor Suppose we get some cats? 

Man No. II Haven't we all the cats 
we can get at work now? 

Man No. I, Man No. II and Man 
No. Ill (together) Do something and 
do it quickly! 

Man No. Ill Let us take him away 
if he doesn't help us. 

(Men start to take Mayor away, two 
at his feet and one at his head, when a 
loud knocking is heard.) 

Mayor Oh, there is a rat, and any- 
thing like the sound of a rat makes my 
poor heart go pit-a-pat. 

(All the men stop and listen while the 
Mayor regains his footing.) 

Man No. I Why, that isn't a rat. It 



118 



LANGUAGE AND OCCUPATION WORK 



is only the scraping of shoes on the mat. 
We will wait and see who it is. 

(Knocking heard again, louder than 
before.) 

Mayor {in a calm voice) Take a 
chair, gentlemen. (Loudly.) Come in! 

(Enter Pied Piper.) 

Pied Piper (approaching mayor) I 
hear you are troubled with rats in this 
town. 

Mayor I should say we are. 

Pied Piper Would you like to get 
rid of them? I can do it for you. 

Mayor You can? Who are you, 
anyway? 

Pied Piper Men call me the Pied 
Piper and I know a way to draw after 
me everything that walks or flies or 
swims. What will you give me if I 
rid your town of rats? 

Mayor (jumping from chair) Any- 
thing, anything! I don't believe you 
can do it, but if you can, I'll give you 
five thousand dollars. 

Pied Piper All right, it is a bargain. 

(Piper goes to the door and placing 
the pipe to his lips, plays a strange high 
tune. The people follow. A great noise is 
heard and rats run out from every corner 
and follow the Piper.) 



Rat No. I Oh, I hear the moving 
aside of pickle tubs! 

Rat No. II I hear the leaving ajar 
of doors of preserve cupboards. 

Rat No. Ill I smell the most de- 
licious old cheese. 

Rat No. IV I see a sugar barrel 
ahead of me. 

Rat No. V I can hear a great yellow 
cheese saying, "Come and eat me." 

(The Piper leads the rats to the river 
and stands aside. All perish except Rat 
No. V, who swims across and runs away 
on the other side.) The Piper returns 
to town. As he approaches shouts are 
heard.) 

Man No. I {throwing up his hat) Hur- 
rah for the Pied Piper of Hamelin ! 

Man No. II {waving his handkerchief) 
Hurrah ! Hurrah ! 

Mayor Let us have a big celebration. 
Poke out all the old rats' nests and let 
us build a great bonfire in the middle 
of the town (turns to Piper, and slaps 
him on the shoulder). Won't you stay 
and see our bonfire? We shall be so 
glad to have you. 

Pied Piper Yes, that will be very 
nice, but first, if you please, I should 
like my five thousand dollars. 

Mayor H'm-er-a-hem! You mean 
that little joke of mine [laughs heartily). 
Of course that was a joke. 



LANGUAGE AND OCCUPATION WORK 



119 



Pied Piper I do not joke. Give 
me my five thousand dollars, please, 
quickly. 

Mayor Oh, come now, you know very 
well it wasn't worth five cents to play 
a little tune like that (putting his hand 
in pocket and pulling out a five-dollar bill). 
Here is a brand new five-dollar bill. 

Pied Piper A bargain is a bargain. 
For the last time I ask you: Will you 
give me my five thousand dollars? 

Mayor (turning aside angrily) I'll 
give you a pipe of tobacco and some- 
thing good to eat and call you lucky at 
that. 

Piper {coming close to Mayor and speak- 
ing softbj) I know another tune that 
I play to those who play false with me. 

Mayor (walking off and looking very 
big a nd powerful) Play what you please, 
you can't frighten me. Do your worst. 
Play as you please. 

(Piper puts pipe to his lips and plays 
a soft, sweet, strange tune, advances down 
the street. Children rush from the houses 
and from every corner.) 

Men (rushing after Piper) Oh, stop! 
Stop! Our children! He is taking our 
children awiy. Stop him, Mayor — 
stop him! 

Mayor (running after Piper) Stop! 
Stop! I'll give you your money. I 
will. Only don't take our children. 



(All the people rush into the street 
wringing their hands and crying.) 

Mayor We cannot catch him. Let 
us return to our houses and there mourn 
for our children. 

(All the people follow the Mayor back 
to the town hall.) 

Child No. I I can see a wonder- 
ful country just ahead. 

Child No. II In that country the 
bees have no sting. 

Child No. Ill I see a tree with 
wonderful fruit. 

Child No. IV No one can ever be 
tired there. 

All children (sing) 
Come away, oh, come, come away. 
Come away, oh, come, come away. 
Come away, oh, come, come away. 

(Piper leads children on and on up to 
the mountains, where a door opens and 
lets them enter.) 

SAND-TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 
The story of the Pied Piper is one 

that the children enjoy reproducing 

in the sand-table especially. 

In the middle of the table they will 

delight to build the town hall. It can 

be built of clay bricks, and doors and 



SEWING CARD 



/J -R-iiL 



<% ST '''"^'-' 



^yy- 






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LANGUAGE AND OCCUFaTION WORK 



121 



windows should be cut while the clay 
is still soft. 

A rectangular structure 8 x 6^4" and 
7" high will serve as the body of this 
building. This should be covered by 
a roof made from light gray card- 
board. 

A porch should be added to this to 
give a finish to the building. The floor 
of the porch can be made of dried bricks 
such as are used for the building, and 
convenient dimensions for the porch 
floor are 5 x 6^". The roof of this 
porch, which is made of a flat piece 
of cardboard, is supported by four 
rolled paper columns 7" high. 

The green surrounding this town hall 
is inclosed by a coping made of dry 
clay bricks laid horizontally with two 
in a vertical position to mark the gate- 
way. 

A white sand path leads from the 
gate to the porch and green waxola 
sprinkled over the enclosed space gives 



the appearance of a well-kept green. 
A white sand road runs in front of the 
town hall. It is bordered on either side 
by a strip of green made by sprinkling 
green waxola on the sand. 

On the right of the sand-table the 
road ends at the bank of a long river 
which is made by burying the edges 
of a long piece of tin in the sand. Here 
we find the Pied Piper with his army 
of rats following him. Both the Pied 
Piper and the rats should be cut from 
stiff construction paper and mounted 
so as to stand alone. 

On the left of the sand-table the road 
ends at the foot of a high mountain, 
the top of which is covered with trees 
(boxwood sprigs). 

At the foot of this mountain we find 
the Pied Piper with his crowd of merry 
children just ready to disappear through 
the door which our imagination pictures 
is about to open in the side of the 
mountain. 



o 

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H 
H 

O 

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pL. 




THE UGLY DUCKLING 



THE STORY 

It was a beautiful summer morning 
in the country. Everything was green 
and the sun was bright. 

In a sunny spot stood an old farm- 
house and out to one side was a beauti- 
ful pond. On the other side of the house 
were large burdocks and their leaves 
were so high that the children could 
stand upright among them without 
being seen. The spot was as wild as 
the thickest part of the wood. 

An old duck walked down the broad 
path that led by the pond where all 
the other ducks were swimming, and, 
twisting her long white neck, she stopped 
just a few minutes and seemed unde- 
cided whether to swim on the lake or go 
on, but, with a decided twist of her 
head, she said to herself: "No, I can- 
not swim on the lake, I must find a good 
place for my nest." So she walked on 
past the big house and over to the wild 
spot where the burdocks grew. "This 
is just the place," she said, pushing 
aside the outer leaves with her bill. 
"These green leaves will be so good for 
my little ducklings' eyes. Just the 
place. But I will go far back under the 



leaves so the children who pass will not 
see my nest." So she pushed down the 
green leaves with her bill and scratched 
out the dead leaves with her feet, 
and soon she had a soft nest. Then 
she settled herself with a sigh of satis- 
faction and said: "I must try and be 
happy these days, for I shall need to sit 
here a long time before all my eggs are 
hatched. They will be beautiful little 
ducks, for everyone in the farmyard 
says their mother is all that could be 
desired." So she stroked her soft feath- 
ers with her bill and sat contented among 
the burdock leaves. 

At last she heard a soft "Tchick! 
Tchick!" and arching her neck she said: 
"These eggs are beginning to break, 
now I shall soon be able to leave my 
nest." Then you could hear a soft 
"Peep," "peep," "peep, " and one little 
head after another peeped forth. Then 
the little fluffy yellow bodies came out 
from under the mother's wing, and one 
little duckling said: "How large the 
world is!" and another one answered, 
"Peep," "peep." Then the other one 
said: "How green the world is!" and 
still another: "How cool the world is!" 



124 



LANGUAGE AND OCCUPATION WORK 



But the mother duck answered : "Do 
not imagine this is all the world. It 
extends far beyond the other side of 
the garden to the pastor's field, but I 
have never been there." 

Then the mother shook her wings 
and said: "Are you all out? No, there 
lies the largest egg. How long will this 
last? I am so tired sitting here," and 
she settled herself on the nest again, 
while the little ducks ran back and 
forth among the burdock leaves. 

By and by the mother duck heard 
the soft thud, thud, of a duck's feet, 
and she saw, looking between the broad 
green leaves. Old Mrs. White Duck. 

Now Old Mrs. White Duck was 
noted among the barnyard fowls for 
thinking she knew more than anyone 
else, but the mother duck was glad to 
see her, nevertheless, for she was so 
tired sitting day after day alone. 

So Old Mrs. White Duck parted the 
leaves with her bill and came in with 
a great deal of noise, saying as she 
entered, "Well, how are you getting 
along?" 

"Bad enough," replied the mother. 
"All the eggs have broken except this 
one, and this will not break; but you 
should see the others. They are the 
prettiest little ducklings I have seen 
in all my days. There they are, out 
among the green leaves; now who do 



you think they are like?" "They look 
much like you," said the old duck, 
shaking her head sadly, "but no good 
can ever come of pretty feathers. I 
hope they will be sensible ducks and 
keep neat and clean and not spend too 
much time on the lake. Let me see 
the egg that will not break. I dare say 
it is a turkey's egg. I had the same 
trouble once myself and I waited for 
days, and when it did hatch, out came a 
ugly turkey. It was afraid of the water 
and I could not get it there. I called 
and called and scolded and scolded, 
but it was of no use. But let me see the 
egg. Why yes, yes, it's a turkey's egg. 
Don't wait to hatch it. The young 
one will be afraid of the water. Come 
and teach the other children to swim 
and let the large egg lie. Harvest will 
soon be over and there is so much good 
grain you are missing. And see, you 
are getting quite thin, too." 

"Oh, I will sit a little longer," said 
the mother. " I have been here so long, 
I shall not mind a few more days." 

"Very well, please yourself," said 
the old duck. "It's none of my busi- 
ness. You never would take good ad- 
vice from me," and she waddled away, 
saying to herself, "Silly thing! stupid 
thing! I want to be there when she 
tries to teach it to swim." 

But the mother sat on her nest and 



LANGUAGE AND OCCUPATION WORK 



125 



waited. At last a loud "Tchick" was 
heard in the nest, and the mother said, 
"Hark! the egg is breaking. The child 
will soon be out," Then when she 
heard a loud "Peep" she jumped from 
the nest and there among the broken 
egg shells was a creature twice the size 
of the others and very coarse and ugly. 
"What a great strong creature!" said 
she. "It is not at all like the others. 
I wonder if it can be a turkey." 

Then she called, "Quack, quack," 
and all the little ducks came running. 
But when they saw the queer creature 
among the egg shells they ran close to 
their mother and one said, " Who is he? " 
"Who is he?" and the mother answered, 
"This is your brother and we are all 
going down to the pond to swim. I will 
go first and you come close behind me. 
Hold your heads high and remember 
that your father is king of the barnyard 
and you must not make him ashamed." 

They walked on past the big house 
and down to the pond, but all the while 
the mother kept saying to herself: "I 
wonder if he will swim? I cannot stand 
Old Mrs. White Duck's sneers if he does 
not. Oh, the trials of being a mother 
duck with six little ducklings to 
watch!" 

Then they reached the pond and the 
mother made the children stand along 
the edge, while she told them where 



they could swim with safety. "Over 
there," she said, "is a deep hole and you 
must not go near it until you learn to 
swim. Keep along the edges and follow 
me, and you will soon be able to take 
care of yourself." 

Then she called, " Quack, quack! " and 
jumped into the water, and all the little 
ones jumped in too, even the ugly one. 

"No, it is not a turkey," said the 
mother duck. "Only see how prettily 
it moves its legs, how upright it holds 
itself. It is my own child. It really 
isn't so ugly, either, when one looks 
closely." 

Then after they had circled around 
the pond several times, the mother 
jumped from the water and all the 
little ones followed, shaking the water 
from their tiny wings. "Now come 
with me," said the mother, "and I will 
take you into the world and introduce 
you in the duck yard, but keep close 
to me and if you see the cat, beware, 
for he is fond of young ducks. 

Now to get into the duck yard the 
mother had to squeeze through a tiny 
hole in the fence. She found this hard 
work, but after several attempts she 
succeeded, and all the little ducklings 
hurried after her. Then what a sight 
met their eyes! Two ducks were quar- 
relling over an eel which was at last se- 
dure^ by the cat. Seeing the confusion 



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LANGUAGE AND OCCUPATION WORK 



127 



in the yard, the mother took her brood 
behind a tree and said: "See, my chil- 
dren, sucfi is the way of the world. 
Now when you see Mrs. White Duck 
you must speak to her very politely, 
for she can give you much trouble 
if she gets a dislike for you. 

"Use your legs and keep together. 
Look! Look! Children, do you see the 
old duck over there — she is of Spanish 
blood and wears a red rag on her leg, 
which shows how great she is." 

Then turning to a little duck she said, 
"Don't turn your feet inward. A well- 
educated duckling always keeps his 
legs wide apart. Look at me! Now 
bow your necks and say quack!" 

All the little ducks did as they were 
told and the mother came out from be- 
hind the tree and brought her brood 
into full view. 

All the ducks stared at them and Mrs. 
Brown Wing said, "Here is another 
brood. I think we had enough already. 
How ugly that little one is! We will 
not endure it," and she flew at the ugly 
duckling and bit him in the neck. 

"Let him alone," said the mother. 
"He is doing you no harm." 

"He is big and ugly," said the duck; 
"a little biting will do him good." 

By this time all the ducks had gathered 
around the brood and the old duck with 
the red rag on her leg was looking at the 



Ugly Duckling with her head turned 
to one side. 

"All pretty except one. I wish it 
could be hatched over again." 

"That cannot be," said the mother. 
"Certainly, he is not handsome, but he 
is a very good child and swims as 
well as the others. Indeed, I think he 
swims even better. The only trouble 
is he stayed too long in the egg-shell," 
and she scratched the duckling's neck 
and stroked his body. "He is a drake 
and is very strong. I feel sure he will 
fight his way through." 

"He is hopelessly ugly," said the old 
duck, "but make yourselves at home, 
and if you find an eel's head, be sure to 
bring it to me." 

Then the ducklings made themselves 
at home and the mother went over to 
talk with her old friends. 

But the poor little duckling, who had 
come last out of the egg-shell, had a hard 
time. The turkeys strutted around him 
calling out, "Ugly thing! See his big 
wings!" and they would give him a 
sharp rap with their bills. Even his 
brothers and sisters were ashamed of 
him and said, "You ugly creature. I 
hope the cat will catch you." 

Then the girl who fed the fowls came, 
and when the Ugly Duckling heard her 
low call, "Chick, Chick," he felt sure 
he had found a friend. But everyone 



128 



LANGUAGE AND OCCUPATION WORK 



had reached the food when he came up. 
The ducks bit him, the hens pecked 
him and the girl kicked him aside, 
saying, "You are too ugly to eat. Get 
out!" 

This was more than the little duckling 
could stand, so he flew over the hedge 
and all the little birds in the bushes 
were terrified. "See, all the little birds 
fly because I am so ugly," said he. "I 
will run on and on until I get far 
away." 

At last he came to a wild moor where 
some wild ducks lived. He could see 
them here and there scattered over 
the moor. So he crept about very 
quietly that he might not waken them. 
He slept peacefully during the night 
and swhen he woke in the morning he 
found his new companions standing 
over him. 

"Pray who are you?" they asked, 
and our Ugly Duckling jumped to his 
feet, and turning awkwardly, greeted 
them as politely as possible. 

"You are really very ugly," said the 
wild ducks. "However, that does not 
matter to us provided you do not marry 
into our family." 

"I do not care to marry," said he. 
"Only let me lie among the reeds and 
drink the water of the moor." 

" Oh, you may stay. You are so ugly 
that we really like you," but just then, 



bang! bang! went a gun, and the wild 
ducks lay dead. How frightened the 
poor little duck was! He turned his 
head, thinking to hide it under his 
wing, and in a moment a most terrible 
looking dog stood close to him, his 
tongue hanging out of his mouth, his 
eyes sparkling fearfully. 

The duckling was so startled at the 
sight of him that he called out timidly, 
"Please do not eat me," but the dog 
only showed his sharp teeth and said, 
"Really you are so ugly I would not 
think of harming you." 

"Well, let me be thankful," sighed 
the Ugly Duckling. "I am so ugly 
that even the dog will not eat me. 
Why doesn't that shooting stop? I am 
afraid to stir, so I will nestle down here 
among the leaves until it is safe to 
move." 

After a while, the shooting stopped 
and he decided to move. Towards 
evening he reached a wretched little 
hut. The wind had been blowing very 
hard and the poor duckling was so tired 
trying to run against it. 

So when he saw the little hut he said, 
" I will go in and see if I can find shelter." 
Now in this house lived an old woman 
with her cat and her hen, but they were 
all asleep, so the duckling said, " I will 
rest under the bed and perhaps when 
morning comes, I may find something 



LANGUAGE AND OCCUPATION WORK 



129 



to eat." So all night long he rested and 
when morning came the cat and the 
hen were the first ones up, and when 
they discovered the duckling under the 
bed, the cat said: "Who is this new 
guest?" and the hen cried: "Let me 
see! Let me see!" 

"What is the matter?" asked the old 
woman, looking around. Her eyes were 
not very good and she took the young 
duckling to be a fat duck who had lost 
her way. 

"This is a capital catch," she said. 
"What a fine fat duck! I shall now 
have duck eggs. I will stir up a cake 
and when she lays an egg I can bake it." 
So she went out of the room to get some 
wood to build her fire. 

Now the cat was master of the house 
and the hen was mistress, and they did 
not like the idea of having the Ugly 
Duckling with them all the time, so 
they started at once to fuss with the 
poor duckling. 

" Can you lay eggs? " asked the hen. 

"No," said the duckling. 

"Well, then, hold your tongue." 

" Can you set up your back and purr? " 
asked the cat. 

"No," answered the duckling, sadly. 

"Well, then, you should have no 
opinion when sensible persons are speak- 
mg. 

"I wish I could find a good pond," 



said the Ugly Duckling; "I would 
teach you how to swim." 

"What is the matter with you?" 
said the hen. "You have nothing to 
do and that is what makes you have such 
queer fancies; either lay eggs or purr, 
then you will forget them." 

" But it is such sport to swim," said the 
duckling. "Such sport when the water 
closes over your head and you plunge 
to the bottom." 

"Well, that is queer," said the hen. 
"Ask the cat, he is the most sensible 
animal I know. Ask him if he would 
like to plunge to the bottom of the 
water. Ask the old woman. There 
is no one in the world wiser than she. 
Do you think she would like to 
swim?" 

"You do not understand me," said 
the Ugly Duckling. 

"Do not understand you!" said the 
hen, "So you think you are wiser 
than I? You are certainly very un- 
thankful and when the old woman 
comes in and finds you cannot lay eggs 
she will twist your neck and throw you 
in the kettle." 

"I think I will go out into the wide 
world," said the duckling. 

" You had better," answered the hen, 
"before the old woman comes." 

So the duckling left the house and 
flew to a large lake. 



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131 



"Here," he said, "I will live. The 
winter is coming and perhaps the cold 
will kill me. I shall wait and see." 

The days grew colder and colder and 
the duckling was obliged to swim round 
and round in the water to keep it 
from freezing. 

"How cold it is!" he said over and 
over to himself. "Little by little the 
water is freezing. See, the ice is getting 
nearer and nearer. I cannot stand this 
much longer. I am so tired, so tired!" 
And wearied out, he lay stiff and cold 
on the ice. 

Early in the morning a man passed 
by, and as he approached the pond he 
saw the Ugly Duckling. "What is 
this? " he said. " Why, I do believe it is 
a little duck. And see it is not dead, 
only half frozen. I will break the ice 
and take it home to my wife." So he 
broke the ice with his wooden shoe 
and took the little duckling in his 
arms. 

It was nice and warm in the good 
man's arms and our little duckling wished 
he could stay there always. But when 
he entered the house the man said: 
"Here, wife, is a duck I found half 
frozen in the pond." The children came 
crowding around crying out, "Let me 
see!" "Let me touch him!" The poor 
duckling thought they wished to tease 
him and jumped into the milk pail, then 



he flew into the pan where butter was 
kept and then into the meal barrel. 

The woman screamed loudly: "Catch 
him! Catch him!" The children ran 
races with each other trying to catch 
him, but the door was open and he 
jumped out among the bushes. He 
wandered aimlessly about until the 
warm days of spring came, then he 
shook his wings and said: "How beauti- 
ful everything is! I will go to the pond 
and swim again." 

When he neared the pond, he saw 
three white swans swimming gracefully 
on the water. 

" I will fly to them," he said. " They 
will kill me because I am so ugly, but 
what does that matter? I had rather 
be killed than bitten by the ducks, 
pecked by the hens, kicked by the girl 
who feeds the poultry, and have so much 
to suffer from the cold and hunger." 

So he flew into the water and swam 
towards the beautiful creatures. 

They saw him and ran forward to meet 
him. 

"Only kill me," said the poor duckling, 
and he bowed his head low, expecting 
death, but what did he see in the water 
but a beautiful swan. 

"We do not wish to kill you," said 
the swans. "You are a beautiful crea- 
ture, and we can be so happy." 

Then the beautiful swan, who had 



132 



LANGUAGE AND OCCUPATION WORK 



been the ugly duckling, raised his head 
thankfully and said: 

" It does not matter if I was bom in a 
duck yard, for I was hatched from a 
swan's egg after all." 

Suggestions for the Dramatization 

This story is well suited for dramati- 
zation because every child in the room 
can have a part. 

Before beginning the dramatization, 
designate the different places of inter- 
est. The first pond is over to one side 
of the room and should be in a place 
that is free from chairs and desks, so 
the ducks can swim with ease. 

The burdock patch is on the opposite 
side of the room, while the farmhouse 
is midway between. The duck yard 
is situated behind the house and one 
side should be enclosed by chairs, be- 
tween which the mother squeezes with 
a great effort. A chair can represent 
the tree behind which the mother takes 
her brood on entering the duck yard. 
A red ribbon should be tied aroimd the 
leg of one child to mark her as the 
Spanish duck. 

When the Ugly Duckling flies from 
the duck yard he should leave from the 
side opposite to the one he entered, and 
the children who represent the birds in 
the hedge fly as he approaches. The 



birds can be perched on chairs enclosing 
the duck yard. 

The Ugly Duckling runs in a fright- 
ened way around the room and at last 
reaches the moor on the opposite side. 
There he finds the wild ducks sleeping. 
He creeps noiselessly about, and at last 
settles himself on the moor, where 
he sleeps until morning, when he is 
discovered by the wild ducks. 

Then the shooting begins, and it will 
add greatly to the children's delight in 
the play if a toy popgun can be obtained 
and used here. After the shooting ceases 
the Ugly Duckling decides to go on 
farther, and after wandering aimlessly 
he comes to the hut where the hen, the 
cat and the old woman are sleeping. 
Two chairs can be used for the bed, 
while a table serves for a stove. The 
hen can be perched on a seat instead 
of a beam. The Ugly Duckling crawls 
behind the bed and sleeps until morning. 
Then the hen flies down with a loud 
cackle, the cat stretches herself and 
finds the stranger under the bed. Then 
ensues the long conversation which 
results in the Ugly Duckling leaving the 
house and flying away to pond number 
two, where he is rescued by the man 
and taken to the house. Here the 
Ugly Duckling meets with new experi- 
ences. 

In the end he comes back to pond 



LANGUAGE AND OCCUPATION WORK 



133 



number one and discovers that he is a 
swan after all. 

THE DRAMATIZATION 

Major Characters 
Mother Duck 
Mrs. White Duck 
Ugly Duckling 

Minor Characters 
Duckling No. I 
Duckling No. II 
Duckling No. Ill 
Quarrelsome Ducks I and II 
Mrs. Spanish Duck 
Mrs. Brown Wing 
Turkey 

Girl (who feeds fowls) 
Birds (any number desired) 
Wild Duck No. I 
Wild Duck No. II 
Dog 

Old Woman 
Cat 
Hen 
Man 
Wife 

Three Children 
Swan No. I 
Swan No. II 

Mother Duck {walking quietly down 
the path, looks very wistful as she nears 
the pond) No, I cannot swim in the 
lake; I must find a good place for my 
nest. (Walks on past the house and over 
to the burdocks.) This is just the place 
(pushes aside the burdock leaves). These 
green leaves will be so good for my little 
duckling's eyes — just the place, but 
I will go far back under the leaves so 



the children who pass will not see my 
nest. (Makes the nest and settles herself 
with a sigh of satisfaction.) I must try 
and be happy these days, for I shall 
need to sit here a long time before all 
my eggs are hatched. They will be 
beautiful little ducks, for everyone in the 
duck yard says their mother is all that 
could be desired. (Strokes her feathers 
and assumes a contented look, sits quietly 
for awhile until the sound of a breaking 
egg is heard, then arches her neck.) These 
eggs are beginning to break. Now I 
shall soon be able to leave my nest. 
Duckling No. I (peeping from behind 
mother) Peep ! 

Duckling No. II (peeping from behind 
mother) Peep! 

Duckling No. Ill (peeping from be- 
hind mother) Peep! 

Duckling No. I (coming out and staring 
about in surprise) How large the world 
is! 

Duckling No. II (coming out and 
pecking at the green leaves) How green 
the world is! 

Duckling No. Ill (coming out and 
flapping its wings) How cool the world 
is! 

Mother Duck Do not imagine that 
this is all the world. It extends far 
beyond the other side of the garden to 
the pastor's fields, but I have never 
been there (shakes her wings and stands). 



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LANGUAGE AND OCCUPATION WORK 



Are you all out? No, there lies the 
largest egg. How long will this last? 
I am so tired sitting here (settles her- 
self on the nest again). 

Mrs. White Duck {entering with a 
great deal of noise) Well, how are you 
getting along? 

Mother Duck Bad enough. All the 
eggs are hatched except this one and 
this just will not break. But you 
should see the others. They are the 
prettiest little ducklings I have seen in 
all my days. There they are, out 
among the green leaves. Now, who do 
you think they look like? 

Mrs. White Duck (looking steadily at 
ducklings) They look much like you 
(shakes her head sadly), but no good 
can ever come of pretty feathers. I 
hope they will be sensible ducks and 
keep neat and clean and not spend too 
much time on the lake. Let me see 
the egg that will not break. I dare say 
it is a turkey's egg. I had the same 
trouble once myself, and I watched for 
days. When it did hatch, out came an 
ugly turkey. It was afraid of the 
water and I could not get it there. I 
called and scolded, and scolded and 
called, but it was no use. (Rises and 
comes over to the Mother Duck.) Let 
me see the egg! (Examines it closely.) 
Why, yes, yes, it's a turkey's egg. 
Don't wait to hatch it. The young 



thing will be afraid of the water. Come 
and teach the other children to swim 
and let this large egg lie. (Replaces 
the egg under Mother Duck.) Harvest 
will soon be over and there is so much 
good grain you are missing. And see! 
you are getting quite thin, too. 

Mother Duck Oh, I will sit a little 
longer. I have been so long, I shall 
not mind waiting a few days more. 

Mrs. White Duck (tossing her head 
indignantly) Very well, please your- 
self. It's none of my business. You 
never would take good advice from me. 
(Waddles away and talks to herself as 
she goes.) Silly thing! Stupid thing! 
I want to be there when she tries to 
teach it to swim. 

Mother Duck (after waiting a long 
time, hears a loud "tchick.") Hark, the 
egg is breaking. The child will soon 
be out. 

Ugly Duckling (peeping out from be- 
hind the mother) Peep! (Mother Duck 
jumps from nest and looks eagerly at 
duckling.) 

Mother Duck What a queer, strong 
creature ! It is not at all like the others. 
I wonder if it can be a turkey. (Turns 
to the other ducklings.) Quack! Quack! 

(Ducklings No. I, II, III come run- 
ning, but stop when they come near, and 
look eagerly at the strange sight.) 



LANGUAGE AND OCCUPATION WORK 



135 



Duckling No. I 
Dtickling No .II 
Duckling No. Ill 



Who is he? 



Mother Duck This is your brother 
and we are all going down to the pond 
to swim. I will go first and you come 
close behind me. {Holds her head high 
and walks on, leading the line. All the 
little ducks follow.) Hold your heads 
high and remember that your father 
is king of the barnyard and you must 
not make him ashamed. (To herself in 
a lower tone) I wonder if he will swim. 
I cannot stand Old Mrs. White Duck's 
sneers if he does not. Oh, the trials 
of being a mother duck with four little 
ducklings to watch! 

{The ducks reach the lake. Mother 
Duck arranges them in line on the hank.) 

Mother Duck Now, children, over 
there is a deep hole and you must not 
go near it until you learn to swim. 
Keep along the edges and follow me, 
and you will soon be able to take care 
of yourselves. 

{Mother Duck jumps in the water call- 
ing, "Quack! Quack!" and all the little 
ducklings follow.) 

Mother Duck {turning to observe the 
Ugly Duckling) No, it is not a turkey. 
See how prettily it moves its legs. 
How upright it holds itself! It is my 



own child. It really isn't so ugly, either, 
when one looks closely." 

{The ducks circle around the lake 
several times, then jump from the water and 
shake the drops from their feathers.) 

Mother Duck {leading ducks towards 
the duck yard) Now come with me, and 
I will take you into the world and in- 
troduce you in the duck yard, but keep 
close to me, and if you see the cat, be- 
ware, for he is fond of young ducks. 

{The mother duck reaches the duck yard 
and makes several attempts to get through 
the small opening, hut succeeds at last. 
Ducklings follow, and, seeing the confusion 
in the duck yard, Mother Duck retreats 
behind a tree with her brood.) 

Mother Duck {pointing to two ducks 
who are fighting over an eel's head) See, 
my children, such is the way of the 
world. Now when you see Mrs. White 
Duck you must speak to her very 
politely, for she can give you much 
trouble if she takes a dislike to you. 
Use your legs and keep together. 
{Moves out a little from behind tree and 
sees Mrs. Spanish Duck) Look, look, 
children ! Do you see that old duck over 
there? She is the most noted of all the 
fowls. She is of Spanish blood and 
wears a red rag on her leg, which shows 
how great she is. {Turning to Ugly 



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LANGUAGE AND OCCUPATION WORK 



137 



Duckling) Don't turn your feet in- 
ward. A well-educated duckling al- 
ways keeps his legs wide apart. Look 
at me. (Walks up and down before 
them.) Now bow your heads and say 
"Quack." 



Duckling No. I 
Duckling No. II 
Duckling No. Ill 
Ugly Duckling 



Quack! Quack! 
Quack! 



(Mother Duck leads brood out from 
behind the tree and in full view of the 
ducks in the duck yard. Fowls all stare 
at the brood.) 

Mrs. Brown Wing (coming near) Here 
is another brood. I think we had 
enough already. How ugly that little 
one is. We will not endure it. (Jumps 
at Ugly Duckling and bites him on the 
neck.) 

Mother Duck Let him alone, he is 
doing you no harm. 

Mrs. Brown Wing. He is big and 
ugly; a little biting will do him good. 

Mrs. Spanish Duck (turning her head 
on one side and viewing ducks) All 
pretty except one. I wish it could be 
hatched again. 

Mother Duck That cannot be. 
(Scratches the Ugly Duckling's head and 
strokes his feathers.) Certainly he is 
not handsome, but he is a very good 
child and swims as well as the others. 
Indeed, I think he swims even better. 



The only trouble is he stayed too long 
in the shell. He is a drake and very 
strong. I feel sure he will fight his 
way through. 

Mrs. Spanish Duck (turning aside) 
He is hopelessly ugly, but make your- 
selves at home and if you find an eel's 
head be sure and bring it to me. 

(Mother Duck goes over to the other 
side of duck yard to talk with other ducks. 
The little ducklings begin picking around 
in the yard, while all the fowls strut 
around and look at the Ugly Duckling.) 

Mrs. Turkey (picking at the Ugly 
Duckling) Ugly thing! See his wings! 

Duckling No. I (coming close to Ugly 
Duckling) Ugly thing! 

Duckling No. II I hope the cat will 
catch you. 

(Girl enters with a pan of corn.) 

Girl Chick, chick, chick, chickee! 
Chick, chick, chick, chickee! 

(All the fowls rush for food. The 
Ugly Duckling comes in last. Fowls 
all peck him and eat the corn themselves.) 

Girl (kicking the Ugly Duckling away) 
Get out! You are too ugly to eat! Get 
out! 

(The Ugly Duckling runs away from 
the others and flies over the hedge. All 



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LANGUAGE AND OCCUPATION WORK 



139 



the little birds resting on the hedge fly up 
startled.) 

Ugly Duckling {turning and looking 
at flying birds) See, all the little birds 
fly because I am so ugly. I will run on 
and on until I get far away. (The Ugly 
Duckling runs on and on until he reaches 
a moor where some wild ducks are crouching 
asleep.) 

Ugly Duckling (creeping quietly about) 
This is the home of the wild ducks. It is 
night and they cannot see me. I will 
creep quietly in so I shall not wake them 
and I will sleep here until morning. 



Wild Duck No. I 
Wild Duck No. II 



Pray, who are 
you? 



Ugly Duckling {jumping to his feet and 
bowing awkwardly) Good-morning! 

Wild Duck No. I You are really 
very ugly. However that does not 
matter to us provided you do not marry 
into our family. 

Ugly Duckling I don't care to marry, 
only let me lie among the reeds and 
drink the water of the moor. 

Wild Duck Oh, you may stay! You 
are really so ugly that we like you. 

{The sound of a gun is heard and the 
two wild ducks fall dead. The Ugly 
Duckling drops down on the ground and 
crouches close. A dog comes near, smells 
the Ugly Duckling.) 



Ugly Duckling {trembling with fear) 
Please do not eat me. 

Dog {running on and calling back) 
Really, you are so ugly I would not 
think of harming you. 

Ugly Duckling (breathing a sigh of re- 
lief) Well, let me be thankful. I am 
so ugly that even the dog will not eat 
me. {Looking about nervously.) Why 
doesn't that shooting stop? I am afraid 
to stir, so I will nestle down here among 
these leaves and wait until it is safe to 
move. 

{The Ugly Duckling nestles down and 
waits. During this time the guns are 
heard. After several shots are fired all 
becomes quiet.) 

Ugly Duckling {standing up and look- 
ing around) I believe it will be safe 
to move now. ( Turning restlessly about.) 
Where shall I go? What shall I do? 
I will go this way and see what I can 
find. {Starts to run and runs on and on, 
until he reaches a hut.) 

Ugly Duckling {standing before the 
door of the hut) I will go in this hut and 
see if I can find shelter. {Enters the 
hut and looks around.) I will rest under 
this bed and perhaps when moming^ 
comes I may find something to eat. 

{Ugly Duckling creeps under the bed 
and sleeps soundly. When morning comes 



140 



LANGUAGE AND OCCUPATION WORK 



the cat wakes and comes out from under 
the stove and the hen jumps down from a 
beam. Cat finds the Ugly Duckling under 
the bed.) 

Cat {peering under the bed) Who is this 
new guest? 

Hen {running up) Let me see! Let 
me see! 

Old Woman {rising from her bed and 
taking her cane) What is the matter? 
{Sees Ugly Duckling coming from under 
the bed, looks at him carefully.) This is a 
capital catch. What a fine fat duck! 
I shall now have duck's eggs. I will 
stir up a cake and when she lays an 
egg I can bake it. 

{Old Woman leaves the room.) 

Hen {coming close to the Ugly Duckling) 
Can you lay eggs? 

Ugly Duckling No. 

Hen Well, then, hold your tongue. 
{Pecks duck on the head.) 

Cat Can you set up your back and 
purr? 

Ugly Duckling No. 

Cat {slapping her with his paw) Well, 
then, you should have no opinion where 
sensible people are speaking. 

Ugly Duckling I wish I could find 
a good pond; I would teach you how to 
swim. 

Hen {turning aside in disgust) What 



is the matter with you? You have 
nothing to do and that is what makes 
you have such queer fancies. Either 
lay eggs or purr, then you will forget 
them. 

Ugly Duckling But it is such sport 
to swim. Such sport when the water 
closes over your head and you plunge 
to the bottom. 

Hen Well, that is queer! Ask the 
cat; he is the most sensible animal I 
know. Ask him if he would like to 
plunge to the bottom of the water. Ask 
the old woman. There is no one in 
the world wiser than she. Do you 
think she would like to swim? 

Ugly Duckling {looking troubled) You 
do not understand me. 

Hen {pecking the Ugly Duckling on the 
head) Do not understand you? In- 
deed, so you think you are wiser than 
we? You are certainly very unthankful 
and when the old woman comes in and 
finds you cannot lay eggs she will twist 
your neck and throw you into the kettle. 

Ugly Duckling {looking timidly about 
and sighing) I think I will go out into 
the wide world again. 

Hen You had better go before the old 
woman comes. {Duckling leaves the hut 
and walks aimlessly on until he comes to a 
lake.) 

Ugly DuA:kling {stopping on the bank 
of the lake) Here I will stop. The 



LANGUAGE AND OCCUPATION WORK 



141 



winter is coming and perhaps the cold 
will kill me. I shall wait and see. 
(Jumps in the lake and swims round and 
round.) How cold it is! How cold it 
is! Little by little the water is freezing. 
See, the ice is coming nearer and nearer. 
I cannot stand this much longer. 
I am so tired! so tired! (The Ugly 
Duckling swims more slowly and more 
slowly and at last falls over on the 
ice.) 

Man (coming near the Ugly Duckling 
and shading his eyes with his hands) 
What is this? Why I do believe it is a 
little duck. See, it is not dead, only 
half frozen. I will break the ice and 
take it home to my wife. (Takes his 
shoe from his foot, breaks the ice, and 
taking duckling in his arms walks on 
towards his home.) 

Man (entering his home) Here, wife, 
is a duck I found half frozen in the 
pond. 

Children (crowding around) Let me 
see! Let me touch him! 

(The Ugly Duckling becomes alarmed 
and flies from the man's arms into the 
milk pail.) 

Wife Catch him! Catch him! He's 
in my milk pail! 

(Duckling flies from milk pail into 
the butter tub.) 



Wife (running with the broom) Now 
he's in the butter tub! 

(Duckling flies from the butter tub into 
the meal barrel.) 

Children Here he is, in the meal 
barrel! 

(The Ugly Duckling flies out the door 
and wanders aimlessly about until he 
comes in sight of a pond.) 

Duckling (stopping thoughtfully) How 
beautiful everything is ! I will go to this 
pond and swim. (Comes to bank of 
pond and sees two swans there.) There 
are two swans. I will fly to them and 
they will kill me because I am so ugly. 
I had rather be killed by them than 
bitten by the ducks, pecked by the hens, 
kicked by the girl who feeds the poultry, 
and have so much to suffer from cold 
and hunger. (Flies to swans and bows 
his head before them.) Only kill me! 

Swan No. I We do not wish to kill 
you. 

Swan No. II You are a beautiful 
creature and if you will come and live 
with us we can be so happy. 

Ugly Duckling (seeing his reflection 
in the water, raises his head) It does 
not matter if I was bom in a duck yard, 
for I was hatched from a swan's egg, 
after all. 



142 



LAXGUAGE AND OCCUPATION WORK 



SAND-TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 

After the story of "The Ugly Duck- 
hng" has been told, reproduced and 
dramatized, then comes the time when 
the children can be made happy by 
demonstrating it on the sand-table. 

To the right of the sand-table we see 
the large farmhouse. This can be con- 
structed of clay bricks and the main 
body of the house can conveniently 
be made 9x5^2 inches and 6^ 2 inches 
high. This should be covered by a 
roof made from green construction paper, 
and doors and windows should be cut 
while the clay is still soft. 

The house is made to appear more 
homelike by a porch 7x9 inches which 
extends all across the front. This is 
covered by a flat roof made of stiff 
cardboard covered with g:-een construc- 
tion paper. This roof is supported 
by four white pillars 6 inches ligh, 
made from white drawing paper rolled 
into the proper size. 

This comfortable farmhouse and the 
well-kept yard is enclosed by a paling 
fence which is cut from bristol board. 
The fence is cut in sections and pasted 
together. A paling gate swings on its 
hinges, showing a path made of white 
sand which leads up to the door. On 
either side of the path green vixola 
is sprinkled to represent grass. 



Just outside of the fence, to the front 
of the sand-table, we see a large pond, 
made by burying the edges of a long 
piece of tin in the sand. On the edge 
of the pond we see the mother duck and 
her six little ducklings just ready to 
plunge in for a swim. 

To the left of the farmhouse we see 
the duck yard, which is enclosed by a 
high fence, cut from bristol board, at 
the front, and a hedge on either side. 
In this duck yard we find a hen house, 
. and, scattered around it, we see turkeys, 
hens, ducks and fowls of every descrip- 
tion, while in the center we see the girl 
who feeds the fowls. 

To the left of the duck yard is a wild 
moor. This is a barren space on which 
are several wild ducks. To the left 
of the moor is the little hut where the 
old woman lives with her cat and hen. 
It is a modest little hut with a very 
small yard enclosed by a woven fence 
made from the 5-inch sticks the 
children use in counting. 

To the left of this is the more pros- 
perous looking house where the man 
lives who rescued the ugly duckling fro.n 
the frozen pond. This house is made 
of light construction paper and the 
openings for windows are turned back- 
ward to represent blinds. Inside the 
windows we see green shades and lace 
curtains. The yard which surrounds 



LANGUAGE AND OCCUPATION WORK 



143 



this house is sprinkled with green waxola 
to represent grass and a path made 
of white sand leads from the door to 
the gate. The coping, which surrounds 
it, is made of dried bricks laid horizon- 
tally, with two in a vertical position to 
represent the pillars at the gate. 

To the extreme left of the sand-table 
we see the pond where the ugly duckling 



learned, from seeing his reflection in 
the water, that he was no longer a 
despised fowl, but a beautiful white 
swan. This pond is made by bury- 
ing the edges of a piece of tin in the 
sand. On this pond we find four white 
swans cut from bristol board and 
mounted so as to seem to swim on the 
surface of the lake. 



PAPER CUTTING 




THB CAT AND THE PAKROT SIT DOWN TO DINNER 



THE CAT AND THE PARROT 



THE STORY 

Once upon a time there was a cat 
and a parrot. They lived on one of the 
best streets in one of the best cities, and 
the cat had begun to think that he was 
one of the best cats in all the world 
and the parrot had begun to think that 
she was one of the best parrots in all 
the world. 

The cat lived in a large attic, 
while the parrot lived in a large wire 
house which had a big yard all around 
it. 

One day the cat came over to see the 
parrot and he looked so sad that the 
parrot said : " Why, what is the matter? 
You look so sad! Has anything gone 
wrong? Aren't there any mice in your 
attic?" Then the cat wiped his eyes 
and said: "Yes, I am sad. I feel that 
I need some excitement. Things are 
very dull here. People are not very 
sociable." 

Now the parrot was a very sym- 
pathetic kind of a bird, so she said: 
"Well, suppose we both give a dinner 
and each of us can invite the other." 

"Well, suppose we do and let me have 
the first turn," said the cat. 



"All right," said the parrot, "that's a 
bargain." 

Then the cat rose to go, and bowing 
very low, said: "Mrs. Parrot, Mr. Cat 
would like to have you come to dinner 
with him to-morrow at one o'clock." 

Now the cat was very selfish. He 
liked nothing better than lying in the 
warm sunshine after a good meal. So 
the next morning he rose at the usual 
time and had a good breakfast of rats. 
Then he lay down in the sunshine and 
slept until after twelve. Now when 
he woke up he stretched himself and 
said: "Oh dear, I wish that pokey 
old parrot wasn't coming to dinner to- 
day! I'm so tired I don't know what 
to do ! She'll just have to take what she 
can catch. There's a pint of milk, 
a little slice of fish and a biscuit on the 
table. I'll let that answer for dinner." 

So the parrot came and she looked 
her very best. She had just preened 
her feathers and had had a good bath. 
When she came in she saw the cat lying 
down in the sunshine, and she said, just 
as politely as possible: "Good-morn- 
ing, Mr. Cat, I hope you have had a 
good nap." 



146 



LANGUAGE AND OCCUPATION WORK 



"Yes, indeed," said the cat, "and 
I'm as hungry as a bear. Let's have 
dinner." 

So they sat down to the table and the 
cat took the bottle of milk and drank 
every drop. Then he ate the fish and 
the biscuit and sat back and said : "I'm 
still as hungry as a bear." 

Now the parrot was too polite to 
complain, but she had not had a very 
good time; however, she said as kindly 
as possible: "To-morrow at one o'clock 
I would like to have you take dinner with 
me, Mr. Cat." 

The next morning the parrot woke 
very early and she worked and worked 
to have things just right when the cat 
came at one o'clock. So when the cat 
arrived he found the parrot all ready 
to receive him, and on the table was a 
roast of meat, a pot of tea, and a basket 
of fruit ^ there were apples and oranges 
and grapes. But best of all, the parrot 
had made a whole basket full of little 
cakes — little brown crispy spice cakes, 
and there were just five hundred of 
them. The parrot had put four hun- 
dred and ninety-eight of them aside 
for the cat and kept only two for herself. 

When they sat down to dinner the 
cat did not wait for the parrot to ask 
him what he would have, but reached 
over and cut off half of the roast. He 
ate that in such a short time that the 



parrot was afraid he would choke. 
But he didn't choke — oh, no ! He swal- 
lowed that half without wincing and 
then ate the other half. The parrot 
was so surprised that she just sat and 
watched him. After he had eaten the 
roast he drank the tea and sucked the 
fruit. Then he began on the pile of 
cakes. He was delighted with them, 
and kept smacking his lips and saying: 
"These are good cakes — mighty good 
cakes." And in less than ten minutes 
he had eaten all the four hundred and 
ninety-eight cakes. 

Then he looked around and said: 
"I'm hungry! Haven't you anything 
to eat?" 

"Why yes," said the parrot, "here 
are my two cakes if you want them." 
And that greedy cat reached across the 
table and ate them. Then he smacked 
his lips and said: "Why, I'm just be- 
ginning to get an appetite. Have you 
anything to eat?" 

Now by this time the parrot was quite 
angry and she said: "Well really, Mr. 
Cat, I don't see anything on the table 
to eat and I don't see anything in the 
room that is eatable except me." 

She thought this would make the cat 
ashamed, but he just looked at the parrot 
and smacked his lips; then he reached 
across the table and swallowed the par- 
rot without chewing her. 



LANGUAGE AND OCCUPATION WORK 



147 



When the cat had eaten the parrot 
he was afraid to stay in her house any 
longer, for he feared the people who 
owned her might come, and, finding that 
she was gone, they might accuse him 
of killing her, so he started off down the 
street. Now an old woman was passing 
by when the cat ate the parrot and she 
saw the whole thing. She was very 
much shocked to think that the cat 
would eat his friend. When she saw 
the cat leave the house and walk on 
down the street as if nothing had hap- 
pened, she said: "You greedy cat, how 
dreadful of you to eat your friend, the 
parrot!" 

"Parrot indeed!" said the cat, "What's 
the parrot to me? I've a great mind to 
eat you." And before the old woman 
could turn around the cat had opened his 
mouth and swallowed her. 

Then he started down the street again, 
walking with his head very high. 

Pretty soon he met a man driving a 
donkey . The man was urging the donkey 
along, for he had to be in town that 
afternoon and it was getting late. So 
when he saw the cat right in the middle 
of the road, he called, "Get out of my 
way, cat! I'm in a hurry and my don- 
key might tread on you." 

Then the cat walked right up to the 
donkey's nose and said: "Donkey in- 
deed! Much I care for a donkey! 



I've eaten five hundred cakes, I've eaten 
my friend the parrot, I've eaten an old 
woman, and I'd like to know what's to 
hinder me from eating a miserable 
man and a donkey?" And before that 
donkey could blink his eyes that cat 
had swallowed them both. 

Then the cat stood way up on his 
toes and swayed from side to side as he 
walked on down the street. Soon he 
met a procession coming that way. 
The king was at the head, walking 
proudly with his newly married bride, 
and behind him were his soldiers march- 
ing, and behind them were ever and ever 
so many elephants walking two by two. 
The king felt very happy because he had 
just been married, so he said as he came 
near the cat: "Why, here's a cat! 
Get out of my way, pussy, my elephants 
might hurt you!" 

"Hurt me!" said the cat. "A thou- 
sand elephants couldn't hurt me. I've 
eaten five hundred cakes, I've eaten 
my friend the parrot, I've eaten a man 
and a donkey, and I have a notion I 
could eat you." 

And before that king could raise his 
hand to signal the soldiers to march 
on, the cat opened his mouth and down 
went the king, down went the queen, 
down went the soldiers, and down went 
all the elephants. 

Then the cat walked on very slowly. 



PAPER CUTTING 




"YOU GREKDV CAT, HOW DREADFUL OF YOU TO EAT YOUR FRIEND, THE PARROT" 



LANGUAGE AND OCCUPATION WORK 



149 



for really he could scarcely put one foot 
before the other. He had eaten more 
than was good for him. He hadn't 
gone far before he met two land crabs, 
crawling along the road. "Get out 
of our way! Get out of our way!" 
they squeaked. This made the cat 
laugh so loud that he had to hold his 
sides, and he said in a terrible voice: 
"Ho! Ho! I've eaten five hundred 
cakes, I've eaten my friend the parrot, 
I've eaten an old woman, a man and 
a donkey, a king, a queen, the king's 
soldiers and all his elephants, and now 
I'll swallow you. It can't do any 
harm." 

And before those land crabs could 
turn around they found themselves 
down inside the cat. 

Now it was very, very dark down there 
and the land crabs wanted air, so they 
began talking together. One said: "I 
want some air." And the other said: 
"Let's get to work and cut our way 
out." 

So snip, snap, snip, snao, they began 
to make a little hole in the cat's side 
with their sharp claws. They cut and 
they cut, and the hole got larger and 
larger, until one land crab called out: 
"Oh, I see the light! We are almost 
through!" Then the hole got larger 
and they both crawled out. Then out 
walked the king and queen, out marched 



the soldiers, out ran the elephants, two 
by two, out came the old man with his 
donkey, out walked the old woman, 
shaking her fist at the man with the 
donkey for treading on her toes, and 
last of all, out hopped the parrot with 
a cake in each claw. And they all 
ran from the cat as fast as they could. 
The cat sat and looked after them 
for awhile; then she said with a long 
sigh : " Well, that's a queer way to have 
your dinner walk off." Then she sat 
down and spent the whole day sewing 
up the hole in her side, for she couldn't 
eat any more until that was mended. 

Suggestions for the Dramatization 

In order to prepare for the dramatiza- 
tion of a story the teacher, after the 
story has been told and reproduced by 
the children, should plan the dramatiza- 
tion with the children. No stereotyped 
way can be set down, but if the inex- 
perienced teacher will proceed in the 
following manner the result will doubt- 
less be satisfactory. 

We will presume that the story, "The 
Cat and the Parrot," has been well told. 
The teacher is sure that all the points 
in the story have been made very clear, 
for the children have reproduced it in 
class. 

The desire now on the part of the 



PAPER CUTTING 




%1 



PRBTTY SOON THE CAT MET A MAN DRI^aNG A DONKEY 



LANGUAGE AND OCCUPATION WORK 



151 



teacher is to give the facts in the story 
their proper placing so all the mechani- 
cal part of the dramatization can be 
done away with and the children can 
give all their attention to acting and 
talking just as they think the cat and 
the parrot would under like circum- 
stances. 

It is never advisable to ask: "Who 
would hke to be the cat?" or "Who 
would like to be the parrot?" for chil- 
dren naturally want to be the chief 
characters in a play. So if the teacher 
will take the initiative in this and say: 
"John will be the cat," or "Mary will 
be the parrot," this probable friction 
will be avoided. 

But the location of places in the play 
is a point which may be discussed and 
the discussion will doubtless serve to 
point out some things in the story to the 
children — perhaps the very things which 
have been obscure in the telling and 
the reproduction. 

Where shall we have the cat's house? 
Yes, this corner is a very good place. 
What shall we need in this house? You 
remember he served his dinner from a 
table, so we need a table and some 
chairs, also a few dishes for the table. 
Do you think the cat paid much atten- 
tion to his table? No, he did not even 
put a cloth on it. So we will just put 
this bottle here for the milk and this 



plate here for the biscuit and the slice 
of fish, and our cat's house is com- 
plete." 

"Now where shall we have the par- 
rot's house?" The children decide that 
it will be best to have it near the cat's 
house, for the story tells us they were 
on the same street. So a short distance 
from the cat's house we will arrange 
the parrot's house. 

"Which was the better housekeeper, 
the cat or the parrot? The parrot, of 
course, so we must have a better house 
for her." 

The fact that the cat lies down on the 
floor when he sleeps, while the parrot 
perches on a roost, brings out the thought 
that the parrot will need something to 
serve as a roost. A chair will answer 
this purpose. 

Now the parrot served an excellent 
dinner for the cat, so what will she need 
in her house? Yes, she will need a 
table, also a cloth for the table and two 
napkins. Then she will need a vase 
of flowers or a growing plant for the 
table, a platter for the roast and one 
for the fruit, also a cup and saucer 
as well as a tea-pot. The clothes- 
basket of cakes should be close by on 
a chair. 

One of the children in our room sug- 
gested that we use the cardboard circles, 
used in the number work, for cakes. 



PAPER CUTTING 



M 




llfWfW 



THK KING WAS AT THE HEAD, WITH HIS BRIDK, BEHIND HIM WERE HIS SOLDIERS, AND BEHIND THEM WERE EVER 

80 MANY ELEPHANTS 




THE CAT HADN'T GONE FAR BEFORE HE MET TWO LAND CRABS CRAWLING ALONG THE ROAD 



LANGUAGE AND OCCUPATION WORK 



153 



The children decided that it must 
be a long distance from the parrot's 
house to the place where the cat 
meets the land crabs, for so many 
things happened on the way. So the 
outer aisle all around the room was 
chosen as the street where the cat 
journeyed. 

When the cat eats the old woman she 
disappears and walks noiselessly to the 
place selected for the final ending of the 
story. The man, the donkey, the king, 
the queen, the soldiers and the elephant 
do the same and after the land crabs 
are swallowed the cat takes his place 
in front of those who have served for 
his dinner. 

When the crabs cut the hole in his 
side all those who have been eaten come 
out one by one. The parrot is the last. 
They all run rapidly away and look back 
towards the cat in an apprehensive 
manner. 

The cat is quite optimistic through 
it all and sees the funny side of the 
situation, for here marks: "Well, that's 
a queer way to have your dinner walk 
off." 

Then seeing the hole in his side that 
the land crabs have made he realizes 
that he cannot eat until it is mended, 
and as this is his chief pleasure, he 
sets to work immediately and sews it 
up. 



THE DRAMATIZATION 

Major Chakacters 

Cat 
Parrot 

Minor Characters 
Old Woman 
Man 
Donkey 
King 
Queen 

Soldiers (any equal number desired) 
Elephants (any equal number desired) 
Land Crabs (two) 

{Parrot is sitting in her house when a 
knock is heard.) 

Parrot Come in. 

(Cat enters looking very sad.) 

Cat Good-morning, Mrs. Parrot! 

Parrot Why good-morning! (Looks 
surprised.) What is the matter? You 
look so sad. Has anything gone wrong? 
Aren't there any mice in your attic? 

Cat (wiping her eyes) Yes, I am sad. 
I feel that I need some excitement. 
Things are very dull here. People are 
not very sociable. 

Parrot Yes, I have felt that way, 
too. But we can make it a little more 
sociable for each other. Suppose we 
both give a dinner and each of us can 
invite the other. 

Cat (looking pleased) Well suppose 
we do, and let me have the first turn. 



154 



LANGUAGE AND OCCUPATION WORK 



Parrot All right — that's a bargain. 
{Cat rises to go, hows very low.) 

Mrs. Parrot Mr. Cat would like 
to have you come to dinner with him 
to-morrow at one o'clock. Good-bye. 

Parrot Good-bye. I will certainly 
come. 

{Cat leaves and goes on to his own 
house.) 

Cat {entering house) I'm so sleepy I 
shall go right to bed and have a good 
night's rest. 

{Goes to bed and sleeps soundly until 
morning.) 

Cat {stretching his limbs and yawning) 
"Well, it's morning and I must catch 
some mice for my breakfast. I heard 
them last night having a good time over 
in that wall, but I'll stop their good 
times. I'll catch a round dozen for my 
breakfast. 

{Cat goes out, catches the mice for his 
breakfast and returns.) 

Cat (lying down in the sunshine) My, 
but this sunshine does feel fine! I've 
had such a good breakfast. Now I'll 
have a good long nap. 

{Cat goes to sleep and does not wake 
up until after twelve.) 



Cat {waking up and stretching himself) 
Oh dear, I wish that poky old parrot 
wasn't coming to dinner! I'm so tired 
I don't know what to do! She'll just 
have to take what she can catch. 
There's a pint of milk, a little slice of 
fish and a biscuit on the table. I'll 
let that answer for dinner. {Hears 
knock at the door.) There she is now! 
Come in! 

{The parrot enters, looking clean and 
happy.) 

Parrot Good-morning, Mr. Cat. I 
hope you have had a good nap. 

Cat {rising and going towards the table) 
Yes, indeed, I have, and I'm as hungry 
as a bear. Let's have dinner. 

{Cat and parrot sit down to dinner. 
Cat reaches over and takes the bottle of 
milk in both hands and drinks it. Then 
eats the fish and the biscuit. Parrot 
looks on in surprised silence.) 

Cat {sitting back and smacking his 
lips) Well, I'm still as hungry as a 
bear. 

Parrot {rising and going to the door) 
To-morrow at one o'clock I would like 
to have you take dinner with me, Mr. 
Cat. 

Cat Very well, I'll be there. 

{Parrot goes out the door and on to her 
house, where she prepares to retire.) 



LANGUAGE AND OCCUPATION WORK 



155 



Parrot (perching ready for sleep) I 
can't understand why that cat acted 
the way he did. I have never done 
anything to him and yet he was very 
rude to me. I shall treat him so good 
to-morrow that he will be ashamed of 
himself. 

(Parrot goes to sleep and sleeps until 
morning, when she wakes up very early.) 

Parrot (stretching her limbs) Why, it is 
morning already! How short the night 
seemed! I must get up and get ready 
for my dinner; for I want everything 
as nice as possible. 

(Parrot gets up, preens her feathers, 
sweeps the floor, spreads a clean cloth 
on the table and arranges flowers.) 

Parrot (placing roast of m£at on the 
table) I am sure he will like this 
fine roast of meat (brings pot of tea to the 
table) and he is fond of tea. (Places 
a cup near his plate.) I will let him 
drink from this pretty cup with the gold 
band. (Arranges fruit in the center of the 
table.) These grapes are nice and fresh 
and these oranges are the best I could 
find. (Turns to cookies which are in a 
large clothes-basket.) But these are the 
best of all. I have baked five hundred 
of these little crispy cakes and shall keep 
only two for myself. (Puts two on a 
small plate and places them on the table.) 



Here are four hundred and ninety-eight 
for him. Now I must see if I can't look 
my very best. (Preens her feathers 
and views herself in the mirror. A 
knock is heard — Parrot rushes to the door 
and opens it.) 

Parrot Why, Mr. Cat, I am so glad 
to see you. Come right in! 

Cat (entering the room) What is that 
I smell? (Looks towards the table and 
sees the meat) Well, if it isn't beef — 
nice, juicy beef! 

Parrot Yes, I heard you say that 
you were very fond of beef so I cooked 
some for you. Come and let's have 
dinner. 

(Cat and parrot sit down to the table. 
Cat reaches over and cuts roast in two and 
eats half.) 

Cat (smacking his lips) Well, that's 
good meat (takes the other half and eats 
it). Pass me that pot of tea and that 
dish of fruit (parrot passes tea and fruit. 
Cat pours tea in his cup and takes a drink 
of tea and a bit of fruit until both tea and 
fruit are consumed. Then reaches over 
and eats cake after cake.) 

Cat (smacking his lips) These are 
mighty good cakes — mighty good cakes. 

(Continues to eat cakes until all in the 
basket are eaten.) 



156 



LANGUAGE AND OCCUPATION WORK 



Cat {wiping his mmith with a napkin) 
I'm hungry! Haven't you anything to 
eat? 

Parrot Why yes, here are my two 
cakes if you want them. 

(Cat reaches across the table, takes 
the two cakes and eats them. 

Cat {smacking his lips) Why, I'm 
just beginnmg to get an appetite. Have 
you anything to eat? 

Parrot {indignantly) Well really, Mr. 
Cat, I don't see anything on the table 
to eat and I don't see anything in the 
room that is eatable except me. 

{Cat jumps from his seat and eats 
parrot.) 

Cat {looking around the room) This 
won't do for me. I can't stay here. 
When the people come to look after 
the parrot and find her gone they will 
accuse me of killing her. Yes, I must 
get out. 

{Cat leaves the house and walks down 
the street where he is met by an old woman.) 

Old Woman {shaking her fist at the cat) 
You greedy cat. How dreadful of you 
to eat your friend the parrot! 

Cat {indignantly) Parrot indeed! 
What's a parrot to me? I've a great 
mind to eat you. {Jumps at old woman 
and swallows her.) 



{Cat walks on down the street with his 
head held very high until he meets a man 
driving a donkey. Man is urging the 
donkey on with a whip.) 

Man Get out of my way. Cat! I'm 
in a hurry and my donkey might tread 
on you. 

Cat {walking defiantly up to donkey's 
nose) Donkey, indeed! Much I care 
for a donkey! I've eaten five hundred 
cakes. I've eaten my friend the par- 
rot. I've eaten an old woman, and I'd 
like to know what's to hinder me from 
eating a miserable man and a donkey. 
{Jumps at man and donkey and swallows 
them.) 

{Cat walks on down the street, swaying 
from side to side until he meets the king 
and queen with a procession.) 

King Why here's a cat! Get out 
of my way, pussy; my elephants might 
hurt you. 

Cat {tossing his head) Hurt me! a 
thousand elephants couldn't hurt me. 
I've eaten five hundred cakes, I've eaten 
my friend the parrot, I've eaten an old 
woman, I've eaten a man and a donkey, 
and I've a strong notion I could eat you. 
{Cat jumps at king and eats him; makes 
three successive jumps in which he eats 
the queen, the soldiers and all the ele- 
phants.) 



LANGUAGE AND OCCUPATION WORK 



157 



{Cat walks on very slowly until he 
meets two land crabs.) 

Land Crabs Get out of our way! 
Get out of our way! 

Cat {laughing loudly) Ho! Ho! I've 
eaten five hundred cakes, I've eaten 
my friend the parrot, I've eaten an old 
woman, a man and a donkey, a king, 
a queen, the king's soldiers and all his 
elephants, and now I'll swallow you. 
It can't do any harm. {Jumps at 
land crabs and swallows them.) 

Land Crab No. I {fighting for air) I 
want some air. 

Land Crab No. II Let's get to work 
and cut our way out. 

{Both land crabs begin scratching; snip, 
snap; snip, snap.) 

Land Crab No. I Oh, I see the light! 
We are almost through. 

{Hole gets larger and larger and both 
land crabs come out, followed by the king 
and queen, soldiers, elephants walking 
two by two, old man with his donkey, old 
woman, shaking her fist at the man, and 
the parrot. All run from the cat very 
rapidly.) 

Cat {heaving a long sigh and looking 
after the running crowd) Well that's 
a queer way to have your dinner walk 
off. {Sees hole in his side.) 1 guess I'd 
better get to work and sew up this hole, 
for I can't eat any more until it's mended. 



SAND TABLE DEMONSTRATION 

(For illustration of sand-table, see Appendix.) 

Our story tells us that the cat and the 
parrot lived on one of the best streets 
in one of the best cities, so this fact alone 
suggests a row of well-kept houses. 

To demonstrate this story on the 
sand-table we will need to construct 
several houses. They can all be con- 
structed from light construction paper 
and should differ somewhat in style. 

A fence, running the full length of the 
street with sections between each house, 
can be successfully constructed from 
clay pillars two inches high, one inch 
wide and one inch thick. On top of 
these pillars should be placed a round 
ball of clay. 

The pillars can be connected by round 
two inch sticks such as the children use 
in their number work. 

Openings should be left for the gate- 
ways of each house. 

The house in which the parrot lived 
might be marked by the wire house of 
this very polite bird in the front yard. 

The cage can be made of picture wire 
and steel rings such as the children use 
in their ring laying. A ring two inches 
in diameter being used at the bottom 
and middle and another one inch in 
diameter at the top. 

The walks from the doorways to the 
street should be marked by white sand 



15^ 



LANGUAGE AND OCCUPATION WORK 



sprinkled lightly over the surface, and 
if green waxola is sprinkled over the 
yards they will appear to have an ex- 
cellent growth of grass. 

The street which runs in front of 
these well-kept houses can be made of 
white sand. 

The street can be further decorated, 
if so desu'ed, by turning the space on the 
side opposite to the houses into a park. 
This can be enclosed by a fence con- 
structed like the one that surrounds 
the houses, but these pillars should be 
connected by the five inch sticks which 
the children use in counting. 

In the center of this park, a monument 
might be erected of clay bricks. The 
base should be about three inches square 
and five and one half inches high. The 
second section should be set in the 
middle of this and should be about two 
inches square and three inches high. 
On the top of this a round ball of clay 
can be placed as a finish. 

A walk should extend all around the 
park on the inside of the fence and trees 



and shrubbery, made from evergreen 
sprigs, should be artistically arranged. 

A mirror whose edges are buried in 
the sand will make a good lake and green 
waxola will serve for grass. 

There is only one stage in the story 
where all the characters can be portrayed, 
and that is where the crabs have cut a 
hole in the cat's side and where all those 
who have suffered the dreadful fate of 
being swallowed by the cat are escaping 
in one long procession down the street. 

All the animals and the persons who 
suffered a like fate can be cut from paper 
so as to stand alone. 

The cat is seen at the extreme end of 
the table under a large tree. The parrot 
is just leaving him and in front of the 
parrot are seen the king and queen, the 
soldiers, the elephants, the old man and 
his donkey, the old woman and the 
two land crabs. 

The characteristics of each person 
should be brought out in the cutting of 
the figures as shown in the patterns 
given. 




THE IGLY DUCKLING 




THE CAT AND THE PARROT 




THE PIED PIPER 



LIBRARY OF CONGRESS i 



019 821 754 2 



